Three are in the front line. The one at left-front has four chairs; the one at center-front, four; the one at right-front, five. At rear of, and half between, front tables one and two is a table of the second row with five chairs. A table, similarly placed at rear of front tables two and three, also has five chairs. The third row of tables, four chairs to one and six to the other, is against the rear wall on either side of the door.

At right of this dividing curtain is a section of the barroom, with the end of the bar seen at rear, a door to the hall at left of it. At front is a table with four chairs. Light comes from the street windows off right, the gray subdued light of early morning in a narrow street. In the back room, LARRY SLADE and HUGO KALMAR are at the table at left-front, HUGOin a chair facing right, LARRY at rear of table facing front, with an empty chair between them. A fourth chair is at right of table, facing left. HUGO is a small an in his late fifties. He has a head much too big for his body, a high forehead, crinkly long black hair streaked with gray, a square face with a pug nose, a walrus mustache, black eyes which peer near-sightedly from behind thick-lensed spectacles, tiny hands and feet. He is dressed in threadbare black clothes and his white shirt is frayed at collar and cuffs, but everything about him is fastidiously clean. Even his flowing Windsor tie is neatly tied. There is a foreign atmosphere about him, the stamp of an alien radical, a strong resemblance to the type Anarchist as portrayed, bomb in hand, in newspaper cartoons. He is asleep now, bent forward in his chair, his arms folded on the table, his head resting sideways on his arms.

LARRY SLADE is sixty. He is tall, raw-boned, with coarse straight white hair, worn long and raggedly cut. He has a gaunt Irish face with a big nose, high cheekbones, a lantern jaw with a week’s stubble of beard, a mystic’s meditative pale-blue eyes with a gleam of sharp sardonic humor in them. As slovenly as HUGO is neat, his clothes are dirty and much slept in. His gray flannel shirt, open at the neck, has the appearance of having never been washed. From the way he methodically scratches himself with his long-fingered, hairy hands, he is lousy and reconciled to being so. He is the only occupant of the room who is not asleep. He stares in front of him, an expression of tired tolerance giving his face the quality of a pitying but weary old priest’s.

All four chairs at the middle table, front, are occupied. JOE MOTT sits at left-front of the table, facing front. Behind him, facing right-front, is PIET WETJOEN (“The General”). At center of the table, rear, james CAMERON (“Jimmy Tomorrow”) sits facing front. At right of table, opposite joe, is CECIL LEWIS (“The Captain”).

JOE MOTT is a Negro, about fifty years old, brown-skinned, stocky, wearing a light suit that had once been flashily sporty but is now about to fall apart. His pointed tan buttoned shoes, faded pink shirt and brighttie belong to the same vintage. Still, he manages to preserve an atmosphere of nattiness and there is nothing dirty about his appearance. His face is only mildly negroid in type. The nose is thin and his lips are not noticeably thick.