Book_AZ4iX^£l Gopyriglit)I^_ CORfRIGHT DEPOSm m2. BY CONSTANCE D. MACKAY THE HOUSE OF THE HEART THE SILVER THREAD PATRIOTIC PLAYS AND PAGEANTS HOW TO PRODUCE CHILDREN'S PLAYS THE BEAU OF BATH COSTUMES AND SCENERY FOR AMATEURS THE FOREST PRINCESS THE LITTLE THEATRE IN AMERICA PATRIOTIC DRAMA IN YOUR TOWN FRANKLIN Color-Tone, engraved for THE CENTURY, by H. Davidson. THE YOUTHFUL FRANKLIN FROM THE STATUE BY R. TAIT MCKENZIE On the Campus of the University of Pennsylvania. Reproduced by courtesy of the sculptor and of The Century. FRANKLIN BY CONSTANCE D^ARCY MACKAY NEW YORK HENRY HOLT AND COMPANY 1922 COPYRIGHT, 1922, BY C. D. MACKAY All Rights Reserved Including stage and platform rights and the right of translation into foreign languages, including the Scandinavian. This play Franklin has been duly copyrighted in the United States of America, The Dominion of Canada, and in all countries of the copyright union. No performance, amateur or professional, can legally be given without permission first obtained from the author and payment of royalty. Infringement of copy- right Involves liability to prosecution by law. No public reading of this play for money can legally be given without permission first obtained from the author. To obtain such permission communication should be made with the author direct, in care of the pub- lishers. m 13 1922 ©CI.A(i74577 PREFACE In this play of Franklin the aim has been to give a picture of the man while keeping as close to his- torical data as possible. All of the events in the play have a foundation of fact, and all of the characters save Bretelle had their counterparts in Franklin's life: Bretelle represents an epitome of the forces against which Franklin strove — the meanness, the spying, the trickery with which he had to contend. But dramatic exigency sometimes makes It necessary, on occasion, to temper fact with fancy, and in the sequence of events, story-cohesion has necessitated cer- tain slight changes. Actions covering a longer period of years have had to be compressed into a few years* time. An instance of this is Deborah Read's marriage to Aaron Rogers. Mystery has surrounded, and al- ways will surround this particular episode, and here the dramatist may perhaps be pardoned for supplying a motive. Again, in the matter of secret diplomacy the content and effect of the de Weissenstein letter has been heightened to make possible a climax. (See Notes on Historic Sources, page i88). Every one who has delved In the archives knows how matters stood before the French Treaty was signed. "It was then that Franklin quietly drew from his pocket a piece of paper stating an unexpected counter-claim, so cogent, IV PREFACE and of such kind that, rather than face it or dispute it, the English commissioners gave up their point at once. . . . On the day following this masterly stroke the preliminary treaty was signed, sealed and deliv- ered." Those wishing to follow the part which "secret doc- uments" played in the negotiations can read of the matter in full in the Diplomatic Correspondence ; in the volumes by Hale, and Parton, and in a fascinating study in Everyman s Library , edited by Ernest Rhys; while the prankish side of Franklin's statesmanship is quaintly revealed in the Letters of Junius by Benjamin Waterhouse. (See Notes on Historic Sources, page 190.) As to the American Revolution — is It not now be- ing reinterpreted by students of history, who see in a new light the curious phenomena of a German king on the throne of England defying the gallant pro- Americanism of such great Englishmen as Chatham and Fox in order to subdue through Brunswickian military measures a country whose citizens were mainly of British blood, a state of affairs referred to by Frank- lin himself as *'an Edict by the King of Prussia^* On the stage side of practical simplification for what may at first seem to be a highly elaborate production the reader is referred to the final chapter on staging. The cast Is of necessity a lengthy one, but it is pos- sible by duplication of characters to give it with a much smaller number. Suggestions along these lines are made on page 195. FRANKLIN (A Play in Four Acts). SYNOPSIS OF SCENES Act I: Keimer's Printing Press, Philadelphia, 1723. Act II: The Same. A Year and a half Later. Act III: Franklin's House in Philadelphia, 1764. Act IV, Scene I: Franklin's Hotel at Passy, 1778. Act IV, Scene II: Hall dts Ambassadeurs, Ver- sailles, a Week Later. CHARACTERS Potts "J Austin v Printers Bretelle J Samuel Keimer Deborah Read Aaron Rogers Benjamin Franklin Greenie, a Printer's Apprentice Sir William Keith A Woman Mr. Knox Mr. Andrews Mr. Braithwaite Mr. Murray Richard Austin Letitia Braithwaite Lord Rockminster Parton, a Servant Countess de Sarnac Duchess de Cleary Mr. Bradley, American Messenger Lord Stormount, British Ambassador MoNS. Gerard, Secretary of the King's Council Count de Vergennes Citizens of Philadelphia, people of the court of France, savants, diplomats, lackeys, etc., etc. Members of the Philadelphia Assembly FRANKLIN ACT I Scene: Keimers printing press in Philadelphia, 1*723, A darkish room below the level of the street, with walls that are dingy and smoke-stained. In center background a door giving on the street, with smudged windows each side of it. In left background a stone hearth with a wide mouthed chimney. Bellows; a hearth broom; a kettle; a long-handled warming pan; wood for replenishing the fire. Near hearth a three- legged stool. Above the hearth a shelf with pewter candlesticks, some single, and some branched. At left, up stage, a door reached by three steps. It leads into Keimers house. At left, down stage, a counter with packages of paper, printed paper and books. Behind the counter a chair. Behind this a wig and coat. Right down stage, a wooden bench. On it a litter of ink balls, paper, a printing frame. Further up the printing press. Near it a stand for setting type. Mufflers and battered hats hang on the wall behind it. Pale Autumn sunlight comes through the windows. During the scene it fades from the rose of sunset to the gray of dusk, and from that to the black of night. Throughout the scene a fire smolders on the hearth, 7 8 FRANKLIN At Rise: Three printers are seen at work. Potts is blond and lankish. Austin is wiry and dark. He appears to be about five and twenty, Bretelle is a young Frenchman of medium height. He has pale brown hair and eyes, and a rat-like face. He seems to he about eighteen. Is exceedingly clever and quick with his hands, but offsets this by idling every spare minute. They are working with pauses, wherein Bretelle runs to fix fire, or to gaze out the window and report on what is passing. It is on one of these ex- peditions that the rise of the curtain catches him,* Potts Any sight of Greenie? * The discussion of printed stage directions is a good deal like the discussion of footlights, or no footlights. It has been found that for certain effects the latter cannot alto- gether be done away with. So, too, with stage directions or "business." It is true that in many modern plays the so-called stage business is like a paragraph in a story. But there are times, especially in a play when there is con- tinual coming and going, and where the stage positions of a large cast have a direct bearing on the action, when such story-like directions only serve to confuse the reader, and clutter the page. Such plays as Hamilton, Disraeli, and The First Lady of the Land have moments when it is imperative for the reader to know the exact position of each character in the scene, or the full significance of the scene is lost. It then becomes a question as to which method is best to use, and undoubtedly the sharpest and most incisive way of indicating involved action is the ancient method wherein "right," "left," or "background" are clearly indi- cated. FRANKLIN 9 Bretelle Devil a sight! ,(He replenishes fire) Potts 'Tis only to Burlington he was sent. That's but seventeen miles. D'ye think he's missed the stage coach, or run away? Austin- Faith, if he's run, the more fool he! They'll be sure to catch him, and you know what happens to run-away apprentices. . . . Potts Ten lashes and a bread and water diet! I tried it once, but never a second time. I'd sooner take Keimer's wage that's as rotten as last year's apples. Bretelle Mon Dieu! Seven shillings a week to keep body and soul alive ! And our work from dark till dark. Austin (Clapping him on the shoulder) Come, lad. Remember night, and the joys of the tavern ! Potts Keimer would take even that joy from us if he lo FRANKLIN could. Only the other day he says "Work over time and I'll give you extra pay!" D'ye think the little Keimer'd give could buy my nights from me, my nights at the tavern? {Indignantly) Lord! Bretelle When I think of Keimer and his wage . . .: Austin- {Soothingly) 'Tis only a little lower than the wage they pay printers everywhere. Potts Curse take them, one and all! Austin {Warily) Take care, Potts! Bretelle You're safe! Keimer's out looking for a sight of Greenie. I'll keep watch for him. You can trust me. {Looks out) Ha! Potts What's passing now? FRANKLIN ii Bretelle The coach of the Governor, Sir William Keith. Potts Folks say Sir William is the best judge of books and paper this side of London. Bretelle If I was a lord I would not leave the Court of London for a bourgeoise town like Philadelphia — not even to be Governor. Potts The smaller the puddle, the bigger the toad. In Philadelphia the Governor fares like a king. But you can't understand these things, Frenchy, being half French and half Spanish. Bretelle (Darkly) I can understand enough to hate success. Is it fair that some walk in the sun while others walk in the shadow ? {Works rapidly) Potts {Admiringly) Lord, but you're light with your fingers, Frenchy. **Light fingered Frenchy!" Was that why you left the land of France? 12 FRANKLIN Bretelle {In more of a fury than the joke warrants) What d'ye mean? Potts Can't you take a jest ? Bretelle But that depends on who makes it. Austin Come, lads, don't quarrel. Where's my composing stick ? Potts Damnation ! Look at this ! A whole page ruined ! Bretelle The ink is sticky, and the type too old! Potts {Furious) I wish it was in Austin Softly ! Don't break it, or you'll have to set it fresh ! Look, lad! See what I filched when the ale-wife's back was turned! FRANKLIN 13 Potts ( Overjoyed) A flagon! Austin Come, souse your sorrow ! Souse your sorrow, man ! Bretelle {With delight) It's my throat that's as parched as a desert. A health to you, Sam Austin! Austin Nay, not to me! To our worthy master, Keimer! You first, Frenchy. Bretelle Here's to old squeeze, Keimer. May a plague rot him! {Drinks) Potts Here's to our master, Keimer! May the devil make him work in hades as we've worked here on earth. Amen ! {Drinks) Austin Here's to Bretelle DIeu! Here he comes! Pass me the ink balls. 14 FRANKLIN {They hide the flagon, und work with furious industry. Enter Keimer, a tall pale man, with a red grayish-streaked beard, and hair that is tinged with gray. His clothes look as if they were flung on. He enters in silence, darts an instant glance at his printers, who work as if idleness were an unknown word. Then he crosses to left, takes off his great coat, hat and wig, and hangs them up, re- placing them with a shabbier coat and a mangy wig. Then he crosses to the printers) Keimer Papers ready yet? Potts Not quite, sir. We're on the last printing. Keimer How many more to do? Potts About thirty, sir. We could work faster if Keimer If — Always excuses, nothing but excuses. You had better said the printing was not done because you are .a set of lousy, idle wastrels. {Enter left, Deborah Read. She is almost sev- enteen, of medium height, and with dark hair FRANKLIN 15 and eyes. She is slender, with a windflowers beauty, and wth a suggestion of a windflow- ers strength. Her manner is frank and charming, but without a trace of coquetry) Deborah Give you good day, Mr. Keimer! {She pauses a second, smiling at him from the top of the steps, and then runs down into the room) Keimer {With very evident pleasure) Deborah Read! Why, you're a sight for sore eyes, surely. Deborah Thank you, Mr. Keimer. {To the printers) Give you good day, Mr. Journeymen. How Is your wrist, Bretelle? Bretelle Better, I thank you, Mademoiselle. Ever since you were here two weeks ago, I did what you told me about it. Deborah That's right. I'm glad it's better. {Goes to counter) 1 6 FRANKLIN Now, Mr. Kelmer, you must let me help you fold the papers. Keimer You'll soil your hands. Deborah As if I minded that! {Printers work industriously all through the next scene) Keimer {Watching her as she works) I declare, you're wondrous pretty, Debby. Deborah {Briskly) You mustn't flatter me. Keimer If ever I'd had a daughter, I'd have wished for one like you. Deborah Ah, I'm afraid that you and Mrs. Keimer spoil me! Keimer We couldn't do that, Debbie. You've got too sen- sible a head on your shoulders. You're as fine, and cool and sweet as a — as a morning glory. No wonder FRANKLIN 17 half the lads have lost their hearts to you, and you not giving your heart to any. 'Tis foolish of you, Debbie, with your fine chances. How's Rogers, the potter? Deborah {Brushing the potter aside) Oh, Rogers! Keimer He's got a tidy fortune. And Matthew Denham, the butcher? Deborah His very soul is fat! Keimer And Roger Francis, and Aaron Brown, and Folger Goldthwaite Deborah {With a little gesture) They're all so — commonplace ! Keimer Commonplace! Deborah, what do you be wanting? A lord? Deborah Oh, no. I'd never be so foolish. Keimer What do you want then? 1 8 FRANKLIN Deborah Oh, I can't tell you. I'm not quite sure myself. Only— {Her eyes begin to dream) he will be somehow different from the others, and high or low, rich or poor, I shall know him when he comes. Keimer {Impatiently) Prut! Nonsense! That's just maid's talk! A home and a husband will banish all such foolish dream- ing! How's your father? Deborah In the best of health. He's going to call for us after supper! Keimer Us? Deborah Ah, confess that you've forgotten that mother and I are to take supper with you and Mrs. Keimer! But I can't blame your memory when it's so weighted. {Indicates papers) Keimer {With pardonable pride) We've seven hundred subscribers. FRANKLIN 19 Deborah {Impressed) Gracious ! Keimer But you can't make much on a paper and a few books. If I could get some special work to do — If I could hang a sign outside my door, "Printer to Lord So and So." Ah, Debbie, that would be the making of me! But all the great folk send their work to London. Deborah {Regretfully) Vm afraid they do. Keimer So it's ridiculous to hope for. Deborah I wish it might come true. I do love this dear old shop, and the smell of the print and paper. Do you remember when you first brought me here? Keimer {Holding his hand above the floor to the height of a small child) You were about so high, and I held you up to see the printing press. 20 FRANKLIN Deborah And when I grew older you let me take my paints and color the print blocks you made for children. Keimer You were right skilful at it. Deborah Have you any now? Keimer About a dozen. Deborah {Eagerly) Will you let me color them? Keimer Yes. But first I must let Mrs. Keimer see a little more of you. And I haven't paid my duty to your mother. Deborah {Leaving her work) But afterwards? Keimer Afterwards you may color all you wish. {As she turns to go Rogers enters. A common looking man wearing his good clothes uneasily. FRANKLIN 21 His face is mottled; his hands several sizes too large) Rogers Good day to you, Mr. Keimer. And to you, Mis- tress Deborah. {He looks at her anxiously) You're not going? Deborah I've scarcely had a word with Mrs. Keimer, for I've just come. Keimer Now, Debbie, stay a minute. Deborah Oh, thank you, Mr. Keimer. Really, I must not keep her waiting, Mr. Rogers. {Curtsies primly and exits, Rogers looks glum) Keimer You mustn't mind her. All girls are flighty till they have a husband to sober 'em. She'll smile on you yet. Rogers You think so? Keimer It's waiting as does it. Is there something you'll have? 22 FRANKLIN Rogers An almanac. Keimer {Giving it to him) It prophesies fair and warmer. Rogers Thank ye. And good day to you. {Exit Rogers. After a look at the printers Keimer exits, left) Potts {With a laugh, as soon as their backs are turned) It should have prophesied "storms and colder"! 'Tis the tenth almanac he's bought this month, and she won't look at him. Austin {T)reamily) It's just as Keimer said. She's like a morning glory. It seems as if she took the sunshine with her and left this old place dark. Bretelle Spoke to me as if I were a human! ''How's your wrist, Bretelle?" 'Twas worth the getting hurt. Potts Let your feeling rest there. She's not for the like of us. FRANKLIN 23 {Begins to sing) "Since fortune's my foe, To a desert I'll go — {As he sings the door in the background opens and young Benjamin Franklin enters. He is a boy of eighteen but looks several years older. He is pale, shabby, travel-stained. The most noticeable thing about his face is the direct- ness and ste^adfastness of his eyes. He wears a coat two sizes too large for him, a garment evidently made over from a hand-me-down. As he takes off his hat on entering it is seen that he wears no wig. His hair falls lank on his coat collar. His low shoes are without buckles. His stockings are thick and clumsy looking. He carries a walking stick and on it a bundle tied up in a large handkerchief. From one of the pockets of his coat dangles a pair of stockings. The other pocket bulges with some unknown articles. Potts checks his song at sight of him) Austin Hey! What do you call that? A rag-bag or a scarecrow ? Potts {Approaching Franklin) What might your name be? 24 FRANKLIN Franklin My name is Benjamin Franklin. (The printers stifle their mirth) Potts Of the High Street Franklins? Franklin No. Fm a stranger. I wish to speak with Mr. Samuel Keimer. Potts (With an impudent swagger and a wink at the other printers) And your business? Franklin (Evenly) Is none of yours. Austin Zounds! The apparition hath found a tongue! (They caper about. It is evident that the wine is having its effect on their spirits) Bretelle A chair for his Majesty! (Pushes forward a three-legged stool) FRANKLIN 25 Austin Back! Back! And mind your manners! Who are you to approach the King of the scarecrows? {Franklin s eyes blaze. He takes a step for- ward) Bretelle {As the printers skip back to the press) But if you don't mind your manners, Messieurs, by the look in the scarecrow's eyes, you may be minding your pates. Potts {Gingerly approaching Franklin) Have you a card, sir? Austin {Plucking Potts by the sleeve) Don't embarrass him! 'Tis a deficiency that I can remedy. Give me a piece of paper. {Writes) Benjamin Franklin to see Mr. Keimer on impor- tant business. Where's your card tray? Bretelle {Skipping up with the warming pan) Here, Monsieur! Austin {Dropping the paper in it with great elegance) 26 FRANKLIN Now run and tell your master the King of all the scarecrows has come to Philadelphia on a secret errand. {Bretelle runs nimbly with the warming pan and exits, Franklin has been standing with his face half turned from his tormentors, looking into the fire, Austin and Potts look at him from behind the printing press and keep up a running fire of talk) Lord ! What a chance to see the styles from court ! Potts The latest cut of hair. A great coat filled with stockings ! Austin And did you mark the bundle? The newest way for carrying one's finery. {Enter Bretelle, He speaks with mock respect) Bretelle Mr. Kelmer will see you, sir, in a few minutes. Franklin Thank you. {Bretelle runs to the press and whispers to Potts, who is shaken with silent laughter) Potts {Wiping his eyes on his printer s apron) And we were dying for a little sport! {Waves flagon in high glee) FRANKLIN 27 "Since Fortune's my foe, To a desert I'll go, Where a river forever shall echo my w^oe." Bretelle {His back to audience as he faces Franklin) Hey! Rag and Tatter! Tell us how you like our singing? {He does not see, until too late, Deborah Read, who stands in the doorway) Deborah {With the utmost indignation) Pierre Bretelle! Bretelle {Taken aback) Why, Mademoiselle, I did not see — I — {Mutters) 'Twas all in jest. {Goes back to his work. Franklin looks up. His eyes and those of Deborah Read meet for a long moment) Deborah Was there some one you wished to see? Franklin I asked to see Mr. Keimer, and he sent back word I was to wait. 28 FRANKLIN Deborah I doubt if he knows you're here. I'll tell him. Franklin I thank you. {Exit Deborah) Potts (Jeering) Now what's to pay, Bretelle? Bretelle Be still, you. {Cuffs him. Enter Keimer) Keimer I am Samuel Keimer. Did you wish to speak with me? Franklin I did, sir. Keimer {Crossing to printers, and swiftly inspecting work) Are you near through? Bretelle {As they work furiously) Almost, Monsieur. FRANKLIN 29 Keimer {Returning to Franklin) Well? Franklin I heard you might need a printer. Keimer {Looking him up and down) Where did you come from? Franklin Boston. Keimer {With half veiled contempt) Why didn't you stay there ? Franklin Because there were too many printers there already, and not much chance of rising. I wanted to come to a new place where I could learn new methods and prove myself. Keimer New methods? What d'ye mean? Franklin {Untying bundle on counter) I mean newer and better ways of printing, sir. 30 FRANKLIN London is using Dutch letter, lately discovered, and we in America are behind the times. Here is some type of the new sort, and samples of what it will do, sir. I made it from a description. You see, the print is ten times clearer than what we're using now. Keimer Moonshine and fiddle-faddle. Put them up. {Franklin begins to tie up his bundle again) I've no patience with new methods. My printing press is good enough as it stands. The best in Phila- delphia. Franklin I didn't mean it wasn't, sir. I only thought Keimer I do not pay my journeymen to think. I pay them to work. Franklin I — I understand. Keimer How long have you been a printer? Franklin I've been apprenticed six years. I began work at thirteen, sir. I served my brother James, who prints the New England Courant. FRANKLIN 31 Keimer A run away apprentice, I'll warrant. Was your brother the only one you ever worked for? Franklin Yes, sir. Keimer Well, you know what sort of a recommendation that gives you. Franklin A little better than none at all, sir. But if you'll give me a trial I'll do my best. {Keimer looks at him unmoved) I can work hard, and fast. Keimer Umph! That's what they all say. I've no mind to try a new man unless I must. It always means trouble and upset. But if Greenie doesn't come back I may be short. I'll give him one hour more. You can wait and see. Franklin Thank you, sir. Keimer Your pay will be seven shillings a week. {To Bretelle) Ready? 32 FRANKLIN Bretelle Yes, Monsieur. {He has put on a hat and muffler, and shoulders a large package) Keimer Then see your heels are not as slow as your fingers. {Exit Bretelle, To Potts) You take the next batch, Potts. {To Austin) Break up the type, and begin to set those handbills. Finish them within the quarter hour, and take them to their owners. Austin Yes, Mr. Keimer. {Exit Keimer) Lord! ril never have them done in that time! Franklin Did you ever try heating the type? Austin Heating the type? You'd better not play the wag with me, young journeyman. Potts Try it, Austin. You can take it out on him later it it don't work. Austin D'ye mean that? FRANKLIN 33 Potts Surely. Austin Well, then I'll try it. (Sets up case by fire, with type) Potts {Singing to himself as he slings papers on his back) "Since fortune's my foe, To a desert I'll go {Exit Potts) Austin {At fire) Lord ! It works like a charm ! It goes about twice as fast! Where did you learn it? Franklin On winter mornings when my hands were freezing. Austin {Regards him a minute, then crosses to him) Harkye ! That talk of ours about your being a rag- bag — you mustn't mind it. We're sometimes that way to a new one. Three years ago it was the same with me. {Goes on with his work) Did you land at Long Wharf? 34 FRANKLIN Franklin {Helping to heat the type) Yes. Austin I landed there myself. Faith, I remember It as if 'twas yesterday! It happened that there were many great folk on board that day, and they got out first — velvet coats, curled wigs and flashing buckles. And last of all lands I, tattered at elbow, down at heel. And there was such a difference 'twixt what went first and what came last, that all the crowd that was watching us set up a laugh Franklin A laugh that seemed to scorch you Austin How did you know? Franklin It was the same with me. And then they followed you, and mocked at you, and jeered you Austin {Ruefully) Well I remember it! Franklin And deep within you you swore that you would one FRANKLIN 35 day land at that same wharf, and change those jeers to cheers ! Austin {Greatly startled, backs off) Lord love us! He's crazed! I never thought no such a thing! You're jesting! {Becojnes less wary of Franklin) Never let Keimer hear you at it. Keep mum when he's about. {Lowering his voice) I tell you this for your own good. He's the flint- iest man in Philadelphia. He'll drive you as if he held a slave whip. He's a hard master! Franklin But aren't all masters hard till you're your own? Austin {Breaking away from him) Till you're your own — ! Well, you are crazed for sure. I'd best be off with these handbills before my own head grows maggots! {He scurries to the door and exits. As soon as he has gone Franklin sits on the three-legged stool by fire, extracts a long roll of bread from his pocket, and begins to eat it, Deborah Read enters, left, a paint-box under her arm, and a bowl of water in her hand. She stops at sight of Franklin, He quickly puts the roll in his pocket) 36 FRANKLIN Deborah {Embarrassed) You're the boy I saw this morning when I was sweeping off the steps. I — I laughed, and shook my broom at you. But 'twas not meant unkindly. {Briskly) Have you seen Mr. Keimer? Franklin {Hastily hiding roll and rising) Yes, Mistress, but he told me to wait. {Hesitatingly) Mistress, I want to thank you for taking my part Deborah {Putting the paint-box on counter with bowl of water, taking out brushes) Fm very angry with Pierre Bretelle. Franklin {Bluntly) Well, Mistress, 'twas no wonder they mocked. I do look like the scarecrow's cousin, and — and my coat is shabby. Deborah Their manners were shabbier than your coat. Are you a stranger to Philadelphia? Franklin Yes, Mistress. FRANKLIN 37 Deborah I thought as much. {She looks at him kindly as she leaves her paints and exits. The moment she is gone he snatches another mouthful. Enter Bretelle, He sees Franklin) Bretelle (With a sneer) Still there, M'sieu? Franklin It would seem so. Bretelle (As he hoists another load of papers to his back) They have a saying in your country, "Beggars and slug-abeds love the fire." (Exit Bretelle. Re-enter Deborah with a bowl of broth) Franklin (Half ashamed J half grateful) Mistress! Deborah (Very sweetly and graciously) Nay, don't refuse me! 'Tis just a bowl of mutton broth to make you remember that Philadelphia is not always unkind and inhospitable to strangers. 38 FRANKLIN Franklin (Embarrassed) But, Mistress Read Deborah (Surprised) You know my name? Franklin I heard one of the printers call you so. (Haltingly, with emotion) I scarce know how to thank you Deborah (Moved) Why, there are tears in your eyes! ( The next instant she is terribly confused, cannot look at him and wishes she had bitten her tongue off) Franklin (Boyishly) T-that's because the broth is very hot! Deborah (Regaining her composure, and setting to work) Best let it cool, then. (Franklin puts his bowl on hearth shelf, and tak- ing a paper out of his pocket offers it to her) FRANKLIN 39 Franklin If I am not presuming, would you care to see a Boston paper? Deborah {Taking it up, interested) Why, 'tis the New England C our ant! Franklin {Drinking broth and watching her) YouVe heard of it? Deborah My mother can't abide it; but my father dotes on it. I often read the articles aloud to him. Franklin Which does he like the best? Deborah The articles signed "Couranto." He thinks they're wondrous clever. Franklin {Boyishly, eagerly) Does he? What do you think of them? Deborah Oh, sometimes I am moved and thrilled by them, and again I am half frightened. 40 FRANKLIN Franklin Frightened ? Deborah Some of the articles are so bold! Why, the last one said it didn't matter where a man started from, he could climb to any heights he chose. Do you be- lieve that? Franklin It's my creed. You see — I — I wrote those articles. Deborah You wrote those articles — ! You're Couranto! Franklin Well, my true name is Benjamin Franklin, but at heart I'm Couranto: only more so! Deborah You're going to be a printer here with Mr. Keimer? Franklin I hope to be. I wish he were more interested in my new blocks for printing. {Indicates them) Deborah Oh, father will be so excited when I tell him ! FRANKLIN 41 Franklin I'm very proud to think that he likes my articles. Deborah {With apparent pride) And he's a judge of articles ! He says that in order to reach the public the statements in a paper should be hot as rum punch and sudden as love! What do you think of that? Franklin {Bluntly) Well, I can speak for the first, but I've never ex- perienced the second. Deborah {JVith innocent frankness) No more have I. But then, we've years ahead of us before we can be as wise as father is. Franklin That's true. Deborah I hope you don't mind my saying I thought your writing bold? Franklin ^ {Vehemently) Were the press really free, my writing would have been a hundred times bolder. Freedom! That's go- 42 FRANKLIN Ing to be the watchword of this century. It's going to be a part of the doctrine that will shake the world. Deborah {Half sturtled) Doctrine ? Franklin {With growing fervor) That all men are born equal and free, and rise or fall by what is within themselves. That is the great discovery of our time. France dreams It: England dreads it: America knows it! The knowledge is run- ning from country to country; but underground, like a subterranean fire, and the people who are living nearest the ground have word of it first. But our press dares not tell of it yet. 'Tis too mighty a con- flagration. They are afraid of it. For when you've thrilled a man with the knowledge that he is responsi- ble for his own future, what have you done? You've given him a spark of that Promethean fire that was meant to burn for all the world, and not for a favored few. However poor that man may be, however ob- scure he Is, you've given him life and hope and strength Deborah (Kindling) You mean FRANKLIN 43 Franklin I mean that a man can fight his own way to any goal he dreams of. I mean that even a humble print- ing press can be — a ladder to the stars! Deborah {With a half cry) Ah, I knew that you were different from the others. Tell me, what are you going to do? Franklin {Eagerly and rapidly) First — work early and late, and save till I have my own printing press. Deborah And later your own paper. Franklin The Saturday Evening Post. Deborah {Staring before her) The Saturday Evening Post. {Turning to him enthusiastically) That's a good title. It sounds as if folks would read it. Franklin I think they will. And in it I mean to print my own wares as well as other people's. 44 FRANKLIN Deborah {Half overawed) You mean to be an author? Franklin Yes, yes, and more. {Halts) You'll think me mad! Deborah {Breathlessly) No. No. Go on. Go on. Franklin I hope to be what an author is when he helps to fashion the thoughts of the public. Deborah {Fascinated) You mean a statesman? Franklin {Passionately) Yes. With all my heart and soul I long to serve America, my country, where a man can say, "I will mold my own future, and poverty is no disgrace"! Deborah Ah, and you'll do it! FRANKLIN 45 Franklin You think I will? Deborah I'm sure of it! Franklin You do believe in me! Deborah With all my heart ! Oh, you have shown me vistas such as I never dreamed! You've made my little world seem small and sordid! Franklin {Deeply) No world that holds you in it could be sordid. Deborah Women can do so little. Franklin An hour ago I might have said "That's true" ! But now I know that no man's triumph is complete until he reads it in a woman's eyes. Greenie's Voice {Shrilly, without) Let be, I tell you! {Enter Br e telle, and Greenie, a lad of fifteen or 46 FRANKLIN thereabouts, shock headed, mide mouthed, Br e telle is leading him by the ear) Bretelle Come in, you whelp! Don't dictate to your elders! {Austin enters, followed by Potts) Potts What is it, Austin? Austin *Tis our apprentice back again, and ready for a thrashing. Call Mr. Keimer. {Exit Potts, left) Greenie You leave me be, Pierre Bretelle! I tell you I missed the stage coach. Bretelle {Walking him over to the bench, right) A likely story! Greenie And had to beg a ride! Austin Wait till you've seen the master! FRANKLIN 47 Greenie {Half -crying) Wait till the master's heard the news I've got for him. Sir William Keith's coming here! Keimer {At top of steps) Who said Sir William Keith? Greenie I did, sir. And it's the truth ! Lash me if it isn't ! I passed his coach just now and heard him say it. He was leaning out and talking to a friend. Keimer Boy, if you're lying Greenie Don't I know I'll have to pay for it! But it's the truth, I tell you, the truth! I heard Sir William say so! He's coming here to ask about some printing. Keimer {Entranced) Angels in heaven! Sir William coming here! Clear up that bench, you vagabonds. {Printers scurry to clear bench) Debbie, be quick! Help me rid up this counter! Angels in heaven! A lord! A lord at last! {Sees Franklin) 48 FRANKLIN You ! What are you waiting for ? • Don't you see the apprentice has come back? Franklin But won*t you need another printer? Keimer {Shouting with vexation) No! Get out! Get out! You're in the way, Get out But, sir- Franklin Keimer Begone, I tell you ! {Franklin turns away) Is my wig straight? {Keimer looks anxiously in mirror he takes from behind counter) Deborah {To Franklin) Mr. Journeyman, come back a moment. Haven*t you forgotten one of your print blocks? {Just as Franklin turns back toward Deborah, Sir William Keith enters. Tall, slender, fash- ionable. His manner brings a whiff of the court into the dingy printing shop. He car- ries a folio under his arm) FRANKLIN 49 Keith Is this the printing press of Samuel Keimer? Keimer Yes, my Lord! Your Lordship's very humble serv- ant! Keith You sell both books and papers? Keimer Yes, Sir William. Yes, my lord! Keith I wish to have some cards printed for a dinner I am giving, instead of waiting to send the work to London. Keimer Yes, my lord! Keith Show me some samples of your work. I myself will supply the paper I wish them printed on. Keimer {Hastening to get samples out from back of counter) Yes, my lord. Here's one. You see the print is very clear and fine. 50 FRANKLIN Keith {Looking at specimens) Let others say that for you. Keimer Y-yes, your lordship. {Keith and Keimer are left of stage center, the rest in the room watching them eagerly. Aus- tin stands at right in a respectful attitude, and takes the specimens which Keith dis- cards) Keith Too blurred. It will not do. Keimer {Anxiously) Try this, my lord. {Gives him another specimen) Keith {Discarding it) Impossible. I am a judge of print and this is ex- ecrable. Have you no other specimens? Keimer If your lordship could wait till I have some fresh type molded Keith I cannot wait that long. {He hands hack the last specimen to Keimer and FRANKLIN 51 turns to go, coming face to face with Frank- lin) Franklin {Offering a specimen) Would your lordship look at this? {Keith takes specimen; faces audience, tipping specimen to get light on it. Franklin draws nearer, Keith looks at specimen, then at Franklin, then looks at specimen again) Keith Hah! Printed from Dutch letter. Clear. Per- fect. {To Keimer) Why didn't you show me this? {Looks again at specimen) One of the Odes of Horace. Who made this type? Franklin I did, my lord. Keith H'm. {Looks him up and down) Are you one of Keimer's printers? Keimer {Hastily) Yes, my lord. I — I've just engaged him. 52 FRANKLIN Keith (As Franklin begins to pass him other specimens) Where did you learn to mold such type? Franklin I read descriptions of what Caslon was doing in London, and what Didot was doing in France. Keith (Looking at samples and back at Fra:nklin) You know the Odes of Horace, and the Essays of Shaftesbury? Where did you learn your A. B. C.'s? At Harvard? Franklin No, my lord. Between whiles in my father's shop, and later in my brother's printing press. Keith {Still looking at him) What is your father? Franklin A tallow chandler. Keith {Considering) Hah! Could you set up, print and correct for me a set of poems, and let me have them by tomorrow morning? FRANKLIN 53 Franklin By working all night, yes, my lord. Keith The pay shall be divided 'twixt you and Mr. Keimer. One-third to you; two-thirds for the use of the presses. Keimer {Bowing^ rubbing his hands with pleasure^ Yes, my lord. Keith {To Franklin) I leave the choice of type and spacing to yourself. {Opens folio he carries j handing it to Franklin, and demonstrating on one of the pieces of white bristol board which it contains) But I would have the poems printed thus : First the title of the poem, then underneath the title a line or two of the refrain, and then the poem itself, refrain and all. You understand me? Franklin Perfectly, my lord. Keith {Still regarding him as he takes a leisurely pinch of snuff) And so you learned between whiles? You are am- bitious? 54 FRANKLIN Keimer {Quickly) My lord, I'm sure he wouldn't be so presumptuous. Keith {Still looking at Franklin, and ignoring Keimer s existence) You are ambitious? Franklin Yes, my lord. Keith Take care. Ambition is a deadly drug. Yet here in America I sense a new order of things that is some day to be born — a new order with new opportuni- ties. . , . You, young man, may go far. But never forget that though you satisfy all your ambitions, or nearly all, there may be one that you will never attain. And the failure to reach that one will leave your life bitter and incomplete. Some day you may remember that I have told you this. Franklin My lord, I thank you. Keith And one thing more. See that you get to London. Use newer methods yet, and you will win. FRANKLIN 55 Franklin I thank your lordship. {Keith turns toward door. General stir) Keimer May I attend you, my lord? (Runs before him to open door. Exeunt Keith and Keimer, Printers snatch up coats and hats from pegs, hurriedly putting them on) Potts Work's over! Come, lads! This may be the only chance you'll ever have to let the whole street see you attending on a lord. Come! And then to the tav- ern! Bretelle The tavern! Austin I wish 'twas not so dark, so folks could see us bet- ter. {Exeunt Bretelle, Austin, Potts and Greenie with the utmost nimbleness) Franklin {To Deborah) My first step upward! I owe it all to you! You called me back — ^you pretended that I had left a print block 56 FRANKLIN Deborah I felt it might be a critical moment if the great Sir William should take an interest in you. And it hap- pened just as I hoped. Franklin You made it possible. Deborah (Briskly, as if to ward off something that she feels) Ah, but your own wit did the rest. Come ! Every moment counts at a time like this. Get out the type case, and I'll read the poems. Which shall I choose? Franklin {Preparing to set type with marvelous celerity) The first that your hand touches. Deborah Shall I begin? {She is looking at Franklin instead of at the paper) Franklin The title first, he said. And after it the refrain. What is the title? Deborah {Reading and then watching Franklin again) 'Tis called ''Lines to One St