ACT II:  Same as ACT I.
              Time: Dusk, the next day.

ACT III:  Headquarters at the main camp.
               Time: A little while later.

ACT I:  Flashlights, blankets, pillow, two lanterns (kerosene or candle), axe, pajama top, sweat shirt, raincoat, war club, whistle.

ACT II:  Water bucket, coin, fire wood, mess kit, mixing pan, spoon, food bag of flour, water, fry pan, piece of bacon, blankets, first aid kit.

ACT III: Books and papers, typewriter, telephone, handkerchief, flashlight, cot, blanket stretcher, splints and bandages.

This play, which is based on an actual event, tells the story of a Scout who is afraid and of how he conquers his fear for the sake of his friend. It tries to give a true picture of the life of a Patrol in camp, and, without preaching to show how character is built through meeting life's problems.  It is full of clean fun, human touches, and contains a dash or two of sentiment.

The play is designed for easy production by Council or Troop groups: at camp or at home. It is especially suitable for camp reunions, and for Troops wishing to raise funds for Troop expenses.  There are two different sets: both of which are cheaply and easily arranged.

Acts I and II are set for a pioneer camp in the woods.  It is the camp of a Patrol which is out with its Troop on a three or four days hike from the main camp.  In the front centre is a fireplace of stones or logs which is fixed up with an extension cord and red bulb for the fire. Around the fireplace is a little pile of wood, with perhaps a splitting log holding an axe.  Various pots and kettles and a mess kit are alongside.

Backstage at the left and right, are pitched two forester tents or two pup tents. (If the stage is not large enough, only one tent may be used. If this is impossible, the tent may be indicated by having one corner and part of the front opening projecting out from offstage left.  If this is done the boys may sleep in a semi-circle around the fire).   On the tents or from rustic racks are hung towels, mess kits and other paraphernalia.

Between the two tents and just back of the fireplace is a stump for a seat and at the left of the stage is another stump.  If stumps are not available a rustic chair or even a box may be used, but some sort of rustic seat is necessary as it is difficult for the audience to see a boy sitting on the floor.

A piece of canvas should be spread on the floor behind the fire to catch the batter in Act II.  If regular woodland scenery is not available, small trees may be mounted on stands at the sides and behind the tents.

During Act I, which is a night scene, the stage must be in dim light, and with full light going on when the lantern is lit.  If it is impossible to arrange this, it is better to play the act in full light.

Act III is a plain interior, being the main camp office.  At the left is a desk or table for the camp chief with a telephone on it and a chair behind it.  At the right is a smaller desk or table, with chair for the camp scribe.

Both should face front and should have the usual books, typewriter, papers, ink, etc. upon them. The walls may be decorated at will with flags, Scout posters, pictures, etc.

The costumes are the Regulation Uniform of Scouts and leaders in summer camp, with shorts and shirts.  Sweaters in Act I.

"Fat" should be fat and if the Troop doesn't boast of a good fat actor, a pillow or two will do the trick.

The Scoutmaster should be played by the Scoutmaster or one of the assistants.

The Rookie is a good comedy part for some little 11-year-old with a piping voice.

The Farmer may be played by an older Scout with mustaches or whiskers as desired.

The Camp Chief should be played by some adult with a good lusty voice and a twinkle in his eye.

The Camp Scribe is an older Scout.

It is suggested that Troops using this play often can find one of their Troop Committeemen or a Scout's father who has had experience with dramatics to direct the production.

With boys, it is especially important to be sure.

1. That they face front while speaking their lines.

2. That they speak lines distinctly and do not rush through them.

3. That they do not rush important business.

4. That they wait for the audience to finish laughing before speaking next line.

It is of the greatest importance to hold regular and frequent rehearsals before the presentation of a play.  At this time no visitors should be allowed, and the parts should be gone over many times until every boy is letter-perfect: both in his dialogue and in the "business" or actions which accompany the spoken word. It is well to remember that when making a "turn" on the stage the actor should not stand with his back to the audience. 

Avoid situations where the actors merely talk and do nothing.  Try to invent some "business" or action for them in order to balance the conversation.  In fact the "business" or action is often more important than the spoken word, and a good director will make himself known by his ingenuity in coaching his actors with this in mind.

ACT II:  Same as ACT I.
              Time: Dusk, the next day.