[_He sits and Minute Men come up the Bedford Road. They are armed. They cross the stage in groups of three to twelve and go out by the Concord Road. The music quickens once more. The light is the most brilliant of full afternoon._ _People come out of the houses and the paths and peer excitedly up the Concord Road. Scattered shots begin to be audible from that direction. The knots of people point in triumphant excitement up the road. Suddenly they withdraw, scattering in excited confusion. Shouts and shots sound nearer and closer together. Then the British, routed and retreating from Concord, surge through the Common and out behind the Meeting House and there are shots, too, from there. The huzzas of the colonists all but drown the shouts and musketry. About the Meeting House a cloud rises that may be dust but is presently seen to be steam. The stage darkens. Only the wild music and the shoutings continue and, in the midst of the steam curtain, Freedom, more gorgeous than ever, shouts louder than the rest, her arms madly lifted to heaven. The steam is many colored, then it dies to the single figure. Then it is darkness and the music falls with it. Then the steam is gone and the Meeting House with it and the Buckman Tavern and all other evidences of Lexington Common are gone and in their place is a new scene altogether._] _Part Two_ [Illustration] “_Political Freedom_” [_It is a long garden stair which we are shown, a stair suggested by some of the planting we have already seen but which begins its Georgian graciousness just where the Meeting House stood a moment since. It rises in shallow steps broken by broad levels, three of them, if possible, and on each of the levels, a bench, very simple and dignified. These levels will hereinafter be referred to as the first, second and third landings. The third is a long terrace, lined, in its central portion, by a chaste and lovely balustrade which extends to a planting of delicately trimmed shrubbery. The whole scene has the look of some exquisite New England garden of the eighteenth century._ _The musical accompaniment of this revelation is serenity itself. Freedom stands on the lowermost step of the stair. She wears more than ever gorgeous raiment. She stands there as though she paused in her ascent to look back into the audience. On either side of the stair, the Choir of speakers is banked, thirty-two in all, dressed pictorially, yet not so brightly as to distract the eye from the action of the play._] FREEDOM Revolt is the way of Freedom, And the progress of Freedom is Change. (_Then a wild cry._) Bloodily! Bloodily! Revolt! Revolt! Revolt! (_Then more calmly._)