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STRONGHEART. 
 
 CHAEACTEES. 
 
 Note: — In the following cast the characters are- 
 named in the order in which they first appear. 
 
 Taylor, a sophomore. 
 
 Boss, a freshman. 
 
 Beade, a " grind. " 
 
 Thorne, a Special. 
 
 Fred Skinner, a sport. 
 
 Frank Nelson, a Senior. 
 
 Dick Livingston, a Junior. 
 
 " Billy " Saunders, a Senior (by courtesy ) 
 
 Siegfried, a Mascot. 
 
 Soangataha, known as " Strongheart *, a " P. G.^ 
 
 Mrs. Kelson, Frank's mother. 
 
 Molly Livingston, Dick's sister. 
 
 Betty Bates, Molly's chum. 
 
 Maud Weston, Molly's chum's friend. 
 
 Dorothy Nelson, Frank's sister. 
 
 Nash, a back. 
 
 Tad, a rubber. 
 
 Josh, a trainer. 
 
 Buckley, head coach, a " grad." 
 
 Farley, manager of the visiting team. 
 
 Butler, at Nelson's. 
 
 Black Eagle, a messenger. 
 
 Fifteen extra men for members of team and sub- 
 stitutes in second act. Seven used in last act. 
 
 Note: — The parts of Nash and Taylor may be* 
 combined. 
 
STBONGHEABT. 3 
 
 COSTUMES. 
 
 Taylor — Act I and IV — Sack suit — cap. Act 
 II — Football uniform. Act III — Evening dress. 
 
 Eoss — Act I and IV — Sack suit — cap. Act II — 
 Football uniform. Act III — Evening dress. 
 
 Eeade — Act I and II — Sack suit — badly fitting — 
 spectacles. Act III — Evening dress — badly fitting. 
 
 Thorne — Act I and IV — Sack suit — cap. Act 
 II— Football uniform. Act III — Evening dress. 
 
 Skinner — Business suit — rather loud colors — 
 Derby hat. 
 
 Frank — Act I and IV — Sack suit — cap. Act II 
 Football uniform. Act III — Evening dress. 
 
 Dick— Act I and IV — Sack suit — cap. Act II — 
 Football uniform. Act III — Evening dress. 
 
 Billy — Act I — Sack suit and cap. Act II — 
 Football uniform. Act III — Evening dress. Act 
 IV — Sack suit, cap and white sweater. 
 
 Strongheart — Act I and IV — Sack suit and cap. 
 • — Act II — Football uniform. — Act III — Evening 
 dress. 
 
 Mrs. Nelson — Afternoon dress and hat. 
 
 Molly — Act I — Afternoon dress and hat. Act 
 III — Evening dress. Act IV — Walking dress. 
 
 Ma in and Betty — Act I — Afternoon dress and 
 hat. Act III — Evening dress. 
 
 D6rothy-*-Act 1 — Afternoon dress. Act III — • 
 Evening dress. Act IV — Simple afternoon dress — 
 without hat. 
 
 Nash — Act I F — Football uniform. Act IV — Sack 
 suit. 
 
 Tad and Josh — Old trousers and plain sweaters— ■ 
 caps. 
 
 Buckley — Sack suit, long light overcoat — soft 
 hat. 
 
 Farley — Sack suit, long light overcoat — soft hat. 
 
 BUTLER — Black coat and trousers. 
 
4 STBONGHEABT. 
 
 Black Eagle — Blue sack suit, flannel shirt, moc- 
 casins. Loose red tie. Broad-brimmed felt hat. 
 Long hair — -falling under his coat. 
 
 Act I. — Booms of Frank Nelson and Dick Liv- 
 ingston, at Columbia. 
 
 Act II. — Two days later. Dressing-room of the 
 Columbia foot-ball team at the Polo Grounds. 
 
 Act III. — Evening of the same day. Library in 
 the home of the Nelson's. 
 
 Act IV. — The next day. Same as Act III. 
 
 Place. — New York City. 
 Time. — The present. 
 
 SIDE PBOPEBTIES OFF STAGE. 
 
 h. 1 E. — One large coffee pot. One brightly colored 
 dean ciirt. One large white wash basin. Two 
 large tablespoons. 
 
 E. 3 e. — Two books in strap. (Thorne) Several 
 packages, crackers, etc (Frank) Package of 
 six coarse while caps and saucers. (Dick) 
 Dachshund, t' d with blue and white ribbons. 
 (Billy) Large pile of packages, crackers, etc. 
 (Boss) One large paper bag of tea. (Taylor) 
 Samovar. (Beade). 
 
 Iw 3 e. — Bedroom pitcher of hot water. 
 
 Three envelopes with enclosures supposed to be 
 signals for Thoene, Dick and Farley. , Far- 
 ley's should look as if it had been through the 
 mail. 
 
STRONGHEART. 
 
 ACT I. 
 
 Scene: — Room of Frank and Dick at Columbia 
 A typical college room furnished in bright colors. 
 Door to Frank's room r. 1 e. Door to halt 
 R. S e. facing down stage. Door to Dick's room 
 and study l. 3 e. Large bay window at bad' c. 
 On curtain pole hang three brightly colored 
 ladies stockings, hung so they jnay be taken 
 down easily. Window seat filled with blue and 
 white cushions. A book on the seat also. Large 
 box couch and cushions down \x. c Square flat 
 top desk with payers, pen and ink, poker chips y 
 copy of " Columbia Spectator/' books and gen- 
 eral iiiler. Practical drawer on R. side of desk, 
 down stage. Desk is l. c. hear curtain line.; 
 Piano and stool l. 1 E. Music, two champagne 
 bottles lied wiih (due and while ribbons, an old 
 dirty fool ball and of her decorations. A chair 
 R. of desk and back of it. Another desk of dif- 
 ferent shape be'oic R. 1 E. .1 table knife on il. 
 Man lei and fireplace abore door \i. 3 E. .1 
 lar clock " on man (el set at 23 minutes to fire at 
 rise. Hat-rack below il. Rugs on floor. Cur- 
 tains a l window. Photographs, pictures. Colum- 
 bia banners, general athletic trophies, football 
 posters, America/t Indian curios, irnrbonncfs. 
 etc., decorative pictures, signs, girls' photoi 
 man I el and walls, a 1 / in good taste. /> 
 in upper left hand earner. A pair i 
 5 
 
6 STBONGHEAET. i 
 
 slippers and general junk on top, a guitar lean* 
 ing against the bookcases and six decorated plates 
 on shelf. 
 
 Overture " STRONGHEART " by Theodore 
 Bendix. Plays five minutes. House down on 
 second occurrence of " Indian dance." Curtain 
 up just before end of overture. Act runs thirty 
 minutes. Curtain rises on empty stage. After 
 a pause Taylor is heard calling off. 
 
 Taylor. Prank ! Hello Frank ! Fra-a-ank ! 
 (enters) Frank! I wonder where they are. (goes to 
 R. 1 and looks in) Frank are you there? (crosses 
 to door l. 3) Dick! (going down stage) Not 
 back yet. (crosses below desk and picks up copy of 
 *' Spectator ") Hello, " Spec " 's out. (sits R. of desk 
 and reads. Feet up on desk) 
 
 Eoss. (calling outside) Oh, Nelson! (enters R. 
 3.) Oh — hello, Taylor, (cross down to Taylor) 
 
 Taylor, (not looking up) Hello, Freshie. 
 
 Eoss. Nelson in? 
 
 Taylor. Nope. He and Dick went off to buy 
 grub for this tea effect. Guess they haven't got back 
 yet. 
 
 Eoss. Oh! (crosses and sits on couch) Say, I 
 hear Dick Livingston's sister is quite a ripper. 
 
 Taylor, (deep in paper) TJm-m-m-m — . 
 
 Eoss. (making another effort at conversation) 
 Buckley gave us some pretty hard play to-day, didn't 
 he? 
 
 Taylor, (shortly) Nope. 
 
 Eoss. (rising and crossing to him, exasperated) 
 Well, what do you call hard play, anyhow ? 
 
 Taylor, (looking up, hot) Say, Freshie, don't 
 you know enough to not talk to a man when he's 
 reading football news? 
 
 Ross. But, I just wanted to ■ 
 
 Taylor. Oh, shut up. I'm busy. 
 
STEONGHEAET. 7 
 
 (Boss crosses and sits on couch very subdued. Enter 
 r. 3, Keade, a small man and a typical grind.) 
 Eeade. {crossing down c.) Is Frank here? 
 
 Taylor, {with an air of resignation) jSJo, lie 
 isn't, (starts to read again) 
 
 Eeade. Oh ! He asked me to come over early and 
 help get things ready for the girls, {to Boss) How 
 long has practice been over? 
 
 Boss. About half an hour. 
 
 Eeade. {crossing down l. of desk) I didn't think 
 the coach would let you fellows take in things like 
 teas, with the big game only two days off. 
 
 (Pushes Taylor's feet off desk. Taylor makes a 
 " swipe " at him with paper. Beade straightens 
 things at desk.) 
 
 Boss. Buckley's all right. He said we could 
 come if we didn't eat, drink or smoke. 
 
 Eeade. Well, I never could see how grown men 
 could give up so much just to roll around in the mud 
 with a piece of pigskin. 
 
 Boss. Well, it's because ■ 
 
 Taylor. {slamming down his paper) Say, 
 Beade, you make me tired. You know perfectly well 
 that when the game comes off, you'll be up in the 
 rooter's stand screaming yourself blue in the face for 
 Columbia. 
 Columbia, {imitates action of giving Columbia yell) 
 
 Beade. Oh, I like to see the old college win. 
 
 Taylor. You bet you do. And then you come 
 here looking sanctimonious and you preach on the 
 evils of athletics. But you'd better not do it this 
 afternoon, that's all. (Beadb starts to say, " why " 
 and crosses slowly to c.) Because every man here 
 will be a football man from Frank, the Captain of 
 the team, down to that little Freshie substitute over 
 there on the sofa. 
 
8 STEONGHEAET. 
 
 (Boss sat upon again puts his head down among the 
 cushions and his feet up on the up stage end of 
 the couch.) 
 
 Eoss. I heard Stronglieart tell Frank he'd, be 
 over. 
 
 Eeade. (interested) What, that Indian chap? 
 
 Taylor. Well, yon can just b< ; Frank and Dick 
 wouldn't have any sort of a kick-up unless Strong- 
 heart was in it. 
 
 Eoss. Why, it's a Damon and two Pythiases. 
 
 Eeade. (shocked at his break) Fythice. 
 
 Taylor. The boys call 'em the Siamese Triplets. 
 
 Eeade. (crossing io couch) Well, what makes 
 them so thick anyhow? (pushes Boss's feet off 
 couch, brushes place and sits) 
 
 Taylor. Oh, the Indian saved Frank's life, or 
 did some such melodrair itic stunt out west three 
 years ago. He's a Carlisle grad. you know. 
 
 Eeade. He seems to be r, very intelligent fellow. 
 They say he knows an awful lot of Pol. Econ. 
 
 Taylor. Pol. Econ. be blowed. He knows an 
 awful 1 ; of football and that's what counts. 
 
 Eeade. (rising and crossing to him, arguing) 
 Now, I don't agree with you. A fellow doesn't conre 
 to college ■ 
 
 Taylor. (hitting him on the arm with the 
 " Spec/') Oh, all right, all right. But for Heaven's 
 sake don't get started on that tack. 
 
 Thorne. (entering r. 3. Puts hat and boohs on 
 rack and crosses to c.) Hello, boys, I've got a mes- 
 sage for you. 
 
 Taylor and Eoss. Hello, Thorne. 
 
 Thorne. Frank and Dick are coming right over. 
 (slaps Eeade on back) They sent me on ahead to 
 ask you chaps to run down the stens. (takes paper 
 from Taylor and slams it on desk) and ^et some 
 English breakfast tea and— er— some delicatessen 
 things, you know, appetizer stuff — caviar and all that 
 
STEONGHEAET. 9 
 
 truck, (pulls out Eeade' s tie and crosses down l of 
 desk) 
 
 Eoss. Gee, they've got a nerve ! 
 
 (Eeade turns and looks at Eoss.) 
 
 Taylok. Shut up Freshie ! 
 
 Thoene. (sitting on desk, looking at "Spec") 
 Oh, and they want one of you to go over to Barnard 
 and borrow a samovar. 
 
 Taylor. (rising and crossing to Eeade) All 
 right! Hey Eeade (slaps him on back) you run 
 with the Barnyard fowls, it's up to you. (turning 
 him toward door) 
 
 Eeade. H'm — there's nothing like making your 
 guests work. 
 
 Taylor. Well, why didn't you stay home, then? 
 
 Eeade. (going) Oh, I'm not grumbling, I'll go. 
 (goes to R. 3, slowly. Stops at pipe rack and straiglx /- 
 ens pipes) 
 
 Taylor. Xow don't stay too long. AVe want that 
 thing back before five o'clock. 
 
 Eeade. All right, (exits slowly r. c.) 
 
 Tiiorne. By the way boys, did you hear about 
 Strongheart ? 
 
 Taylor & Eoss. (anxiously) Xo. What? 
 
 Thorne. The doctor says that tendon of his is 
 all right again, and he can play in the Thanksgiving 
 game. 
 
 Eoss. (jumping up) Gee that's great ! 
 
 Taylok. (jubilantly) Thank the Lord! If ho 
 plays behind the line it's our game! (In Ross) 
 Next to Dick Livingston he's (ho host hack in 
 America. 
 
 Ross, (crossing to him) Siill \\ seems i<> me 
 
 Taylor, (grabbing him by shoulders and faking 
 him np w. :}j Shut up Fresh, come on ana" 
 those things. 
 
10 STKONGHEAKT. 
 
 (Enter Skinner r. 3.) 
 
 Skinner, (in door) Is Mr. Thorne here? 
 Taylor. Yes, Thorne, someone to see you. 
 
 (Taylor and 'Ross bow very obsequiously and exit 
 laughing quietly. Skinner crosses toward c.) 
 
 Thorne. (crossing to Skinner) Why, Skinner, 
 (shaking hands and passing on to R. 3) what are you 
 doing up here? (looks out door and then closes it) 
 
 Skinner. I've been chasing you from one end 
 of this joint to the other for half an hour. Then 
 they told me you were here. 
 
 Thorne. (r. c. above couch) Well, what's up? 
 
 Skinner. Well, you and I are in a pretty bad fix. 
 Haven't you heard the news from the enemy's camp ? 
 
 Thorne. No. What is it? 
 
 Skinner, (up c.) Warren's laid up with a bad 
 ]eg, and the result is that the odds have swung around 
 to five to three on Columbia. 
 
 Thorne. (startled) And — have you put the 
 money all up? 
 
 Skinner. Every red cent! (Thorne moves 
 down c. ) You told me that Columbia had no chance 
 to win. That it was a sure thing to bet against her. 
 So I not only put up all your dough, but a big wad 
 of my own. (crossing down to Thorne) Why the 
 devil did you give me that tip, if you weren't sure? 
 
 Thorne. I was sure, (crosses to l. c.) But I 
 couldn't count on .their best man being laid up. It's 
 worse than that now — Strongheart's going to play 
 Thursday. 
 
 Skinner. What are you going to do? Can you 
 get any cash to hedge? 
 
 Thorne. Wo. Every cent I could borrow is up on 
 the game now. If Columbia wins, I shall be filling 
 the interesting position of a ruined man. Sounds 
 quite imposing, doesn't it? 
 
STEONGHEAET. 11 
 
 Skinner, (sitting on couch and taking out cigar- 
 ette) I'll be pretty hard hit myself. 
 
 Thorne. (crossing to Skinner) Look here 
 Skinner, suppose I guarantee that Columbia won't 
 win. Will you put up another thousand on my ac- 
 count ? 
 
 Skinner, (looking at him hard) What sort of a 
 guarantee can you give me ? 
 
 Thorne. (taking letter from pocket) These are 
 the signals we are going to use in Thursday's game. 
 
 Skinner, (rising and speaking abruptly) You're 
 going to send that list to Farley, the manager of the 
 other team ? 
 
 Thorne. Now don't get excited. It's our only 
 chance. If they know our signals, Columbia can't 
 possibly win. (crosses to desk) 
 
 Skinner. If I were a college man, I'd see myself 
 ruined and damned too, before I'd do a dirty trick 
 like this, to win a few thousand. 
 
 Thorne. (crossing to Skinner, mad) Lo k 
 here, Skinner, don't you suppose it's hard enough for 
 me to do this without you're rubbing it in? (trying 
 to justify himself) I didn't mean to go in so far, but 
 I can't back out now. Besides you know I'm not 
 doing it for the money, (crosses to desk) 
 
 Skinner. Yes, I know. You're just doing it be- 
 cause Farley will feel so bad if he loses, (sits) 
 
 Thorne. (crossing up to window) No, I'm doing 
 it because, well, because I have reasons. 
 
 Skinner, (businesslike) You'll have to be a 
 little more definite than that, if I'm going to give 
 you a thousand on the strength of those reasons. 
 
 Thorne. (crossing to desk, leaning on back of 
 chair) Well, then I'll tell you. You know Dick 
 Livingston? 
 
 Skinner. Your right half back? Yes. 
 
 Thorne. Well, ho happens to think a good deal of 
 a young lady in whom Tin very much interested. 
 
 Skinner. I bet it's that Nelson girl 
 
12 STEOXGHEABT. 
 
 Thorne. (shutting him off quickly) Perhaps. 
 When I saw that he was seriously interfering with the 
 progress of my affair, I waited for my chance, which 
 came the other night in the shape of a game of poker. 
 When we broke up he owed me three thousand dol- 
 lars. He didn't have the money to pay. it, so I per- 
 suaded him to borrow three thousand more from 
 different fellows and put it up on the game. 
 
 Skinner. Oh, I see. Of course he's backing Col- 
 umbia? 
 
 Thorne. That's the game. I sent him to see you. 
 Is his money up yet ? 
 
 Skinner. No. It'll go up this afternoon. 
 
 Thorne. Good. Then when Columbia loses he'll 
 be six thousand dollars in the hole and as he can't 
 get it, he'll have to leave college, (crosses up to win- 
 doiv) 
 
 Skinner. Leaving the field clear for you. 
 
 Thorne. (crossing down to Skinner) Yes. So 
 now you see why Columbia mustn't win. (crosses to 
 desk) 
 
 Skinner, (rising) Yes, I see. My boy I've never 
 worked a crooked deal in mv life, but if you want to 
 make a fool of yourself, I'd be an ass not to make 
 something out of it. 
 
 Thorne. (% little anxiously) Then you'll fix 
 that extra thousand for me? 
 
 Skinner, (^fter chinking) Sure. 
 
 Thorne. (relieved, speaking lightly) All right. 
 Here are the signal.. ( crosses and starts to hand 
 them to Skinner. Then holds them back) Wait, I 
 guess I'd better ma these myself, then they won't go 
 astray, (crosses i desk) 
 
 Skinner. Jiict lj you like, (starts up stage to 
 door) Well, I've got to cut if I expect to get 
 Livingston's money up to-day. (Frank heard whist- 
 ling "Faculty Song " off R. 3. Thorne moves up to 
 window) I said I'd telegraph him when it was fiied. 
 So long. 
 
STKONGHEAET. 13 
 
 Thokne. {looking at book, at window) So long. 
 
 (Enter Prank carrying several packages of uneedas 
 and zuzus. He Wears a " C " sweater over his 
 coat. The body f the sweater over his back the 
 " C " showing, the sleeves tied around his neck. 
 Also wears a " l C " cap. Stands above couch 
 facing Skinner waiting for him to go.) 
 
 Skinner, {embarrassed) How are you, Captain? 
 How's the team ? 
 
 Prank, {coldly) All right, thank you. 
 
 Skinner, {more embarrassed) Well, I'm off. 
 Be good, boys, {exits r. 3) 
 
 Frank. What's that chap Skinner doing here, 
 Ralph? 
 
 Thorne. (still looking at book) Oh, he followed 
 me up here. He wants me to put up some money on 
 Columbia. 
 
 Prank. Did you do it ? 
 
 Thorne. No. 
 
 Frank. That's the cheese. {crossing to desk 
 speaking) I haven't any use for an athlete who bets 
 on the game he's playing in. {looks at clock on 
 mantel) Great Cesar's Ghost! It's quarter of five. 
 We'll have to hustle up to get things ready by the 
 time those girls come. Here, fix these on plates will 
 you? I've got to look for the tea pot. {runs to R. 1) 
 
 Thorne. Where are the plates ! 
 
 Frank. Top shelf of my book case, next to Cicero. 
 {exits R. 1) 
 
 (Thorne gets plates and takes them to desk. Frank 
 e n t ers im m e did tely.) 
 
 Frank, {holding up a big I in coffee pot) I guess 
 this is a coffee pot. But it'll have to do. (smells it) 
 Gee whiz, I forgot. I lent it to Tommy Nash, and 
 he didn't wash it. (smells i! again) Jle used it for 
 
14 STBONGHEABT. 
 
 beer. It's got to be washed, (pulls up sleeves) Say, 
 it's great that Strongheart can play Thursday, isn't 
 it. With him and Dick behind the line we ought 
 to win out. 
 
 Thorne. Yes, we ought to. 
 
 Dick, (calling off R. 3) Oh, Prank. 
 
 Frank. Hello. 
 
 Dick. Are you upstairs? 
 
 Frank. Yes. Hurry up. (to Thorne) Here 
 comes Dick. I'll just leave these things to him. He 
 has an artistic eye. (enter Dick carrying package 
 of six large coarse cups and saucers) Did you get 
 the cups, Dick? 
 
 Dick, (crossing down c.) Yes. These are the 
 best I could get though without going way down 
 town. They're sort of cheesy, aren't they? (crosses 
 and sits on sofa. Holds up one of the cups) 
 
 Frank. Oh, they'll do. The girls won't expect 
 much delicate stuff up here. Just help Ealph fix 
 things up, while I scour this darned thing, (exits 
 R. 1) 
 
 Dick, (unwrapping china) All right, old man. 
 
 Thorne. (at top of desk) Well, Dick, I see the- 
 odds favor Columbia to-day. 
 
 Dick. Yes. But gee whiz I was a sad ass to let. 
 you take that three thousand off me. 
 
 Thorne. Oh, there's not the slightest hurry about 
 it. 
 
 Dick, (stacking cups in his arm) If you knew 
 my old man you wouldn't say that. He ' says he 
 doesn't mind paying a few thousands for breaking up 
 a freshman dinner, or bailing me out when I get 
 pinched, (crosses to desk with cups and saucers) 
 But he's put his number 10 and a half D down hard 
 when it conies to gambling, (puts down saucers on 
 word "hard." Cups down during following speech) 
 He says if that's all T can learn at college, the sooner 
 I'm out of it the better. 
 
STEOSGHEAKT. 15 
 
 Thorne. (dropping poker chips in box) Can't 
 you call the bill " Athletic Expenses?" 
 
 Dick, (decidedly) No. Fm going to play fair. 
 If the jig's up why then it's time to stop dancing. 
 But don't say anything to Frank about it, I don't 
 want him to know what a chump he's got for a room- 
 mate. 
 
 (Thorne reassures him.) 
 
 Frank, (entering rubbing coffee pot with shirt) 
 Say old man, there isn't a spare towel in the place 
 so I borrowed a clean shirt from you. 
 
 Dick, (rising) What! Oh, all right, (crosses 
 to c.) 
 
 Frank. Say, have you got that list of signals for 
 Billy Saunders? 
 
 Dick, (taking signals from inside pocket) Yes, 
 here they are. (Thorne at first mention of signals 
 moves up to window and watches closely where Dick 
 puts signals) I'll leave them here for him? (puts 
 in drawer of desk. Closes drawer) 
 
 Frank. We'll never be ready by five, it's four 
 minutes of now. Hurry up and dress and let Ealph 
 fix things up. 
 
 (Frank exits r. 1. Dick crosses to couch, gets hat 
 and wrapping paper and exits L. 3, humming. 
 When they are off Thorne comes quickly do ten 
 to desk and takes his list from his pocket and ex- 
 changes it for Dick's, puts his list in drawer and 
 Dick's list in his pocket.) 
 
 Thorne. (while changing signals) Dick's to 
 Farley, mine here. Now if anything happens it's up 
 to Dick. What luck, by Jove, what luck. 
 
 Billy. (outside) Hello you yaps in there 
 (THOBNE slams drawer and sits on desk) is it time 
 for the pampered guests to arrive? (enters R, .">. 
 
16 STKOXGHEAKT. 
 
 Is a big man and has a dachshund tied tvith blue and 
 white ribbons on a leashS Crosses to c.) Hello, 
 Thome. 
 
 Thobne. Hello Billy. 
 
 Billy, (crossing to l. 3., looking in. Starts bach 
 hand before face, apparently shocked. Thoene 
 crosses to fireplace) Hello, Venus, where are those 
 signals ? 
 
 Dick. Top drawer of my desk, Billy. 
 
 (Thoene watches closely.) 
 
 Billy, (crossing down to drawer in desk and get- 
 ting signals) Aye, aye, sir. 
 
 Feank. (calling from off n. 1) You ought to be 
 at meetings, Billy. It's a bad plan to write out sig- 
 nals on paper. 
 
 Billy. I couldn't help it, talk to the faculty. 
 
 Dick. Have you got 'em? 
 
 Billy, (looking at envelope and putting it in 
 pocket) Yes. Many thanks. (Thoene crosses to 
 hatrack and gets hat and books) Down Siegfried. 
 Keep off my pants. 
 
 Thoene. (crossing to c, relieved) Say Billy, I 
 haven't washed up yet, just tidy things up a bit, will 
 you? See you later boys, (exits e. 3.) 
 
 Feank. All right 
 
 Dick. So long. 
 
 Billy, (crossing up c) Say, look how Siegfried 
 ie. dressed up for the party. 
 
 Feank. (entering e. 1, putting on tie) Hey, 
 Billy, you can't keep that pup in here. 
 
 Billy. Can't, eh? Why not? 
 
 Frank. There are going to be ladies here. 
 
 Billy. My Lord, I know that. That's just the 
 reason I brought him over. All he needs is the re- 
 fining influence of feminine society. 
 
 Feank. Oh, well, put him in here. (Billy 
 
STEONGHEABT. 17 
 
 starts for R. 1.) No. Put him in Dick's room. 
 (Billy crosses to l. 3. Frank exits r. 1.) 
 
 Dick, (coming to door) No you don't. I don't 
 want the ratty pup in here, (exits) 
 
 Billy. I'll bet he's the most intelligent guest 
 you've got all right, all right, (puts pup in l. 3., 
 without going off) 
 
 Dick. Come, hurry up you lazy loafer, you've got 
 to make the tea or something. 
 
 Billy, (crossing to c.) Where is the tea? 
 
 Frank, (off r. 1) By Jove, those dubs haven't 
 come back yet. 
 
 Dick, (entering, crossing down to top of desk 
 without coat and vest, his sleeves rolled up) Say 
 Frank, how about a punch bowl ? 
 
 Frank, (entering r. 1, with wash basin. No coat 
 or vest) Oh, I suppose the usual. 
 
 Billy, (c.) What are you talking about? You 
 can't use that wash basin if there are going to be 
 ladies here. 
 
 Dick. I don't believe we need punch anyhow. 
 
 Billy. No. The girls don't drink it, and the men 
 are in training. 
 
 Frank. All right. Exit punch, (exit carrying 
 bowl high up in the air) 
 
 Dick, (handing Billy two plates) Here, Billy, 
 put these plates over there on the desk. (Billy 
 crosses with them to desk down R.) And then hurry 
 up and put these up on the mantel. 
 
 (Enter Frank. Billy crosses back to get plates and 
 turns up to put them on mantel. Frank takes 
 them out of his hands, places them and then 
 goes to window and looks out.) 
 
 Billy. (to Dick) Say, Dick, is your sister 
 coming to-day? 
 
 Dick. Who, Molly? Well, rather! 
 Billy. Then that's all right. 
 
18 STEOXGHEAET. 
 
 (Enter Taylor and Boss r. 3. They cross down to 
 below couch, Frank turns from window.) 
 
 Frank, (scathingly) Well, have you chaps been 
 off on a drunk somewhere ? You've had time enough. 
 (crosses down C. From the r., they stand in this 
 order, Taylor, Eoss, Billy, Frank and Dick) 
 
 Taylor. Oh, all right. You just try going around 
 and getting the sort of truck girls like to eat. 
 
 Frank. Did you get the tea ? 
 
 Taylor, (holding up package) Yes, here you are. 
 English breakfast tea, two pounds, (passes it to 
 Billy) 
 
 Billy, (smelling it) Will that be enough? 
 
 Eoss. (to Taylor) I told you we'd better get 
 three. 
 
 Frank, (thinking) Let's see. There'll be about 
 twelve people here. 
 
 Billy, (figuring it on fingers) That's only a — 
 sixth of a pound a piece, (passes tea to Frank ivho 
 tosses it to Dick. Dick takes it to top of desk and 
 opens it) 
 
 Eoss. (to Taylor, triumphantly) There now, 
 you see? 
 
 Taylor. Oh, well, maybe they won't all take tea. 
 Anyhow here are the other things, uneedas, zuzus — 
 (passes the two packages to Billy who passes them 
 to Frank) 
 
 Frank, (crossing and putting packages on desk. 
 Disgusted) I say, we've got a lot of those. 
 
 Eoss. (to Taylor) Itold you they had! 
 
 Taylor. Oh, shut up Freshie ! (names each 
 package in pile in Boss's arms) Swiss cheese, cav- 
 iar, potato salad, cheese crackers, pickles 
 
 Eoss. (dumping packages on couch and holding 
 up a small box) And mint jujubes. 
 
 Billy, (and other men ad lib) Good Lord ! 
 
 Eoss. (smiling, self-satisfied) You see I thought 
 
STKONGHEAKT. 19 
 
 they'd come in handy for the girls who ate potato 
 salad. 
 
 Taylor, {slapping him on back) Good boy, 
 Freshie ! Intellect sprouting. 
 
 Frank, (crossing l. below desk) Well, hustle 
 things up boys. Dick keep a lookout and holler 
 when they heave in sight. 
 
 (Dick up to window and looks out. Taylor unwraps 
 loaf of bread in Boss's bundles and places it on 
 desk r. Eoss and Billy carry stuff from sofa 
 to desk l.) 
 
 Billy, (c.) I wonder what's keeping Strong- 
 lie art ? 
 
 Frank, (at top of desk) He was going to give 
 that sub fullback a little extra coaching. 
 
 Dick, (from window) Here he comes now. (men 
 all up to window) Hi — Strongheart ! Come up 
 here and work! What? Oh, hang your frock coat! 
 
 Frank. Come on, you promised to help fix the 
 room. 
 
 Billy. Oh, come on up, don't talk so much. 
 
 Taylor. It's after five now. 
 
 Boys, (in chorus generally) Oh, come on — damn 
 your clothes — you look fine. You're all right. 
 
 Eoss. (crossing to R. 3) Here he comes boys. 
 
 Taylor, (crossing to upper c.) Come on boys, 
 receive the chief ! 
 
 (All men get down on their knees in a slanting line 
 from r. 3, to desk. From r. 3 they ere, Ross, 
 Taylor, Frank, Dick, Billy.) 
 
 BlLLY. Now all together! 
 
 All Mkn. (raising their arms in air) "Hail 
 chief." (they bow to the floor) " Hail Mighty War- 
 rior/' (they raise their arms) "Thy Braves Greet 
 Thee." (they bom to the floor) 
 
20 STEONGHEAET. 
 
 (Enter Soangataha, stands amused and then speaks 
 with mock solemnity.) 
 
 Strongheart. Gentlemen, this reception touches 
 me deeply, (men all look up) I do not know what 
 it is all about, but that does not matter. I love to see 
 your fresh young faces lit up by the innocent joy of 
 childhood, so as Shakespeare says " on with the dance, 
 let joy be unrefined." (tosses hat on rack and crosses 
 down c.) 
 
 Taylor and All Men. (rising) Hear! Hear! 
 Glad you can play old man. 
 
 Stroxgheart. Thank you boys, Fm glad too. 
 
 Dick, (crossing r v behind couch) Come on boys, 
 get busy. 
 
 (Eoss crosses to desk with packages, Billy at desk 
 with him l. Taylor to desk r., gets bread and 
 knife, Prank on Strong's l., Dick on his R.) 
 
 Frank. You oughtn't to wear civilized dress, any- 
 how. The girls will be awfully disappointed. 
 
 Strong. Why, I thought only your sisters were 
 coming. 
 
 Dick. Xo. Molly's going to bring a couple of 
 friends and they'll expect to see you in full war 
 paint. 
 
 Taylor, (holding up bread and knife) Sure. 
 They'll expect you to cut bread with a sealping-knife. 
 
 Strong. I did not bring my scalping knife to 
 Xew York. The eastern hair comes out by itself. 
 
 (Frank crosses to top of desk.) 
 
 Dick. Yes, it's slower here but surer, (putting 
 hand on Strong's shoulder) Say old man. it's great 
 you can play Thursday. 
 
 Eoss. (crossing to couch with plate) Yes it's 
 made the whole team feel better. 
 
STRONGHEAKT. 21 
 
 Eeadb. (entering r. 3. Samovar held out before 
 him) Here you are ! (crosses down c.) 
 
 All Men. A-a-a-a-a-h ! 
 
 Dick. The Grecian flower maiden. 
 
 Taylor, (crossing and taking samovar) Parsi- 
 fal with the Grail ! 
 
 (Stuing it around l., Frank takes it from him. 
 Eeade watches nervously.) 
 
 Eeade. (warningly) No, you've got to be careful' 
 of this. 
 
 Taylor. All right, if the naughty Goths and the 
 Vandals come, we'll lock it in the cupboard. 
 
 Billy, (leaning against the piano) Hello Tommy. 
 Gee it's good to see you work. 
 
 Eeade. (to Frank) Say Frank, have you 
 finished with those History notes of mine? 
 
 All Men. O—O— oh Lord. 
 
 Dick. Ye Gods, can't you keep your mind off 
 History long enough to 
 
 Frank. I know what's the matter with him. 
 He's been talking to that Barnard Senior, with the 
 light frizzy hair and " ideas." 
 
 Strong, (taking Eeade by shoulders) Never 
 fear, my boy. Your precious notes will be returned 
 to you safe as the child in its mother's arms. 
 
 Frank. Safer Tommy. 
 
 Taylor, (melodramatically. Inking Readers arm) 
 Sure. A mother when hard pressed by hungry wolves 
 might throw her child overboard as a sort oi' peace 
 offering. But Tommy would lei himself be torn 
 into a thousand fragments before he'd part with one 
 page of those notes, (slaps him on shoulder) 
 
 Beade. That's all right, Taylor. 1 haven't got 
 
 eigfot conditions, anyhow. 
 
 Hilly, (crossing and shipping READH on back-) 
 That's right Tommy. Sic Vm. Besides it' you don't 
 
 get your notes back, I don't pass. 
 
22 STBONGHEAET. 
 
 Frank, (at desk, holding up handful of tea) 
 Come, stop this squabbling and pitch in here. How 
 long ought I boil this tea? 
 
 Billy, (crossing to foot of desk) Three minutes. 
 
 Dick, (crossing to desk) Back to the woods, 
 Billy, that's, for eggs, (sits R. of desk) 
 
 Billy, (picking up package) Oh, well, boil it 
 three hours if you want to, I'm not going to drink it. 
 
 (Slams down package and goes up stage. Eeade 
 crosses to pipe rack and gets pipe. Crosses and 
 stands behind Dick at desk.) 
 
 Frank. Well, don't get ratty about it. 
 
 Strong, (crossing to top of desk) I suppose I 
 shall have to make it myself. 
 
 Frank. Do you know how ? 
 
 Strong. No, but I'm a better guesser than you 
 are. 
 
 (Ross exits l. 3. Enters immediately with pitcher 
 of hot water.) 
 
 Frank, (stepping to l. of desk) Come on then. 
 
 (Strong pulls off the chimney of samovar. Men all 
 stoop and look at samovar, Keade and Billy ex- 
 cepted. Billy stands c. Eeade lights match 
 and holds it in hand down stage. Is back of 
 Dick on a line. From r., they are Billy, Eeade, 
 Dick, Strong, Frank, Eoss and Taylor at 
 foot of desk.) 
 
 Dick, (after a pause) How does the damn thing 
 work ? 
 
 IiEAde. When J was in Eussia 
 
 All Men. (turning to him, Dick blows out 
 match) S-h-h-h-h-h-h-h ! 
 
STKONGHEAKT. 23 
 
 Frank, (indicating faucet of samovar) Press 
 the gargoyle and trust to Providence. 
 Billy, (c.) I think it's upside down. 
 
 (Taylor crosses to l. c.) 
 
 Eoss. (handing Prank pitcher of water) "Just 
 add hot water and serve." 
 
 Taylor. ' Behold, the future chief of a war-like 
 people making tea for pale-face squaws. 
 
 Billy, (crossing down c, facing upstage) Come 
 on, boys, let's have a war dance, (Dick crosses up 
 window and looks out) to make him feel at home. 
 What is home without a war dance ? 
 
 (Billy crosses to desk, grabs cup and saucer. All 
 men do same and start to dance around desk, 
 whooping, etc. Eeade dances very seriously. 
 They get once around when Dick rushes down 
 with his hands raised. Men stop, holding their 
 position.) 
 
 Dick. Boys, here are the girls ! (rushes into l. 
 3 Men start rushing about room talking and trying 
 to straighten things and only make it look worse.) 
 
 Prank. Gosh. Sav Billy, just look around the 
 room and take down any relics that might — er — you 
 know, (rushes into R. 1) Oh, Billy, sling 1 that pair 
 of pants in here w?U you? (Billy gets pants from 
 couch and throws them m R. 1) And Billy chuck that 
 football off the piano will you? (Billy does so — 
 throws it R. 1) And don't forget the champagne 
 bottles and that box of poker chips. Oh, and Billy — 
 
 Billy, (stopping o.) Say, what am 1, anyhow? 
 A damn pack-horse? Why don't you ask the other 
 men to do something? 
 
 j *-> • 
 
 (DlCK crosses from L. 1 3 to Et. ;>, running. PBANK 
 
 rushes out n. 1 to Billy, and grabs him.) 
 
24 STKONGHEAKT. 
 
 Frank. Quick, Billy, those stockings ! (exits R. 3, 
 on the run) 
 
 Billy. Judas Iscariot! (rushes up, gets stock- 
 ings and crosses down to foot of desk) 
 
 Frank. (ushering in the ladies) Come in, 
 Mother. You know Strongheart and Mr. Saunders. 
 (Mrs. N". crosses to l. a, Taylor and Maud cross 
 to piano) This is Mr. Taylor and Mr. Boss) 
 
 (Enter Dick and Dorothy. Dorothy crosses down 
 in front of couch. Dick stands and talks to 
 Miss Bates. Boss l. of Miss Bates. Beade 
 talking to Mrs. N., Frank at desk. Strong 
 below desk.) 
 
 Billy, (crossing c. to Molly) How do you do, 
 
 Miss Molly? (shaking hands) 
 
 Molly. Fine, thank you. How's the team ? 
 
 Billy. So, so. We need you to look us over, you 
 know. 
 
 Molly. I see they cook you out of guard and put 
 you in at center, (crosses to Strong, shaking hands) 
 Hello, Soangataha. (crosses up to window with 
 Billy) 
 
 Strong. Hello, little one. (crosses to Dorothy 
 r. c.) Miss Kelson. 
 
 Dorothy. I haven't seen you for almost a week. 
 Are you forgetting your old friends ? 
 
 Strong. No, we've been kept very busy up here. 
 
 Dorothy. Ah, the old excuse. (Dick crosses 
 down to her, Boss and Bates go up to mantel and 
 get photograph) 
 
 (Dick crosses to her r., and all three stand talking.) 
 
 Frank, (tasting tea) Mother, I'm going to get 
 you to help us out by showing us how to make tea. 
 You see this is our first offense at anything of this 
 
STEONGHEAET. 25 
 
 sort, (hands her cup. She tastes it and makes a 
 face) 
 
 Mrs. N". Grood gracious, it's dreadful. 
 
 Frank. (laughing) I say Chief, the mater 
 doesn't seem to care for your tea. 
 
 Strong, (crossing up to c.) I beg your pardon, 
 Mrs. Nelson/ 1 should have warned you. 
 
 Mrs. N". You must have made it according to the 
 methods of your medicine men. 
 
 (Dorothy and Dick sit on sofa.) 
 
 Strong. I was afraid it would remind you of 
 medicine. 
 
 Mrs. 1ST. Don't you boys ever use spoons? 
 
 Frank. Great Scott! We've forgotten the tea- 
 spoons. 
 
 Strong. I will try and find some for you, Frank. 
 (exits R. 1) 
 
 Betty, (up r. c, to Eoss who is showing 
 picture) And v/hat position do you play, Mr. Ross? 
 
 Eoss. Why — er — you — see Miss Bates, I'm only a 
 substitute thin year. 
 
 Frank, (from l. of desk) Ross, I want to in- 
 troduce you to Dick'o sister, Miss Livingston. 
 
 (Eoss turns up stage to Molly who is in window.) 
 
 Molly, (crossing down from tvindow and shak- 
 ing hands) Oh, I know you Mr. Eoss, you played 
 the last five minutes of the Hamilton game. 
 
 (Eoss puffed up at her notice, stands and talks to 
 her. Billy glares at him.) 
 
 Dorothy, (to Dick) Dick, those girls haven't 
 thought or talked anything but football since the sea* 
 son began. 
 
26 STBONGHEAET. 
 
 Dick. Yes, we're all thinking a good deal of the 
 game up here. 
 
 Dokothy. We're going to be in the front row 
 of the center section, but I suppose you won't be able 
 to see us. 
 
 Dick. Xo, but we'll know you're there, and it'll 
 make us play harder. It means a good deal to a fel- 
 low to have the right girl watching the game. 
 
 Dorothy. And will the " right girl " be there, 
 Dick? 
 
 Dick. Yes. She'll be sitting in the front row 
 of the center section. You know who it is, Dorothy. 
 1 want to win for you. 
 
 Dokothy. Why, Dick, how serious you are. It's 
 only a game. 
 
 Dick. Yes, but sometimes the big things of life 
 get mixed up in a game, so that if you lose, you lose 
 everything. 
 
 Dorothy. You're getting morbid, Dick. It's no 
 disgrace to lose. 
 
 (Enter Thorne r. 3. Crosses down to Dorothy, 
 shakes ha?ids. Dick rises.) 
 
 Thorne. Ah, how do you do, Miss Nelson? I 
 suppose of course you're talking football. Every other 
 topic strictly forbidden by the head coach. 
 
 Frank. Come on fellows, grub's ready. 
 
 (Taylor and Maud move up stage and to the c.) 
 
 Billy and Eoss. (charging down to desk) Can't 
 I get you some tea, Miss Molly? 
 
 Frank. Here, you fellows, one at a time. 
 (crosses to c, and hands Beade a plate of crackers) 
 Here, Beade, hand these 'round. 
 
 (Beade hands them to Dorothy and other women.) t 
 
STEONGHEAET. 2? 
 
 Molly, (crossing down l. of desk) Here. You 
 boys are driving poor Mrs. Nelson crazy. Let me 
 show you how to keep a crowd of football men in 
 order. 
 
 Mrs. N. (relieved) Thank you, my dear. 
 
 Molly, (putting on stern manner and pound- 
 ing desk) Now then. What this team needs is more 
 discipline. Team work. You can't all get the ball 
 at once ! 
 
 Dick, (crossing to c.) But look here 
 
 Molly, (very sternly) Don't talk back, (men 
 laugh) Stop that laughing, (all stop) Every one 
 of you men has got to realize what depends on this. 
 Nelson, wipe that smile off your face. (Frank 
 scowls. Molly takes up cup of tea) Seniors first, 
 Captain Nelson. (Frank crosses to desk, gets cup 
 and takes it to Dorothy, Dorothy and Thorne 
 cross up to window seat) Saunders ! (Bill gets cup 
 and hands it to Eeade c.) Livingston! (Dick 
 crosses and gets cup, then crosses back to R. c, above 
 couch) 
 
 (Maud and Betty sit on sofa) 
 
 Frank, (crossing in front of desk to L.) All 
 right, Coach, let me handle the team now. 
 
 (Molly crosses to front of desk.) 
 
 Billy. (crossing down a, facing up stage) 
 Come on boys, a short yell for the new coach. Ready, 
 one, two, three. 
 
 (Regulation "rooter" leader business.) 
 
 All the Men. Eay — ray — ray, C-O-L-U-M- 
 B-I-A. New coach, new coach, new coach ! 
 Eeade. Coach ! 
 
28 STEOXGHEAET. 
 
 Taylor. {slapping him on bach) Take the sub- 
 way, Eeade. 
 
 Boss, (crossing to Molly with cup of tea) 
 Won't you have a cup of tqa, Miss Molly ? 
 
 Billy, (crossing to her and pushing Eoss away) 
 Oh, I think you said I might. 
 
 Molly, (to Billy) Oh, I promised Mr. Saun- 
 ders. Won't you get me a cracker ? (to Eoss) And 
 Mr. Boss, may I trouble you for the sugar? (Eoss 
 g^ts it) 
 
 Frank. Say boys, we haven't had a song yet. 
 
 Taylor, (crossing down c.) That's the cheese. 
 Come on Billy, give us the Faculty song. 
 
 Billy, (crossing and sitting at piano) Well, I'm 
 not much of a premiere danseuse on this machine, 
 but here goes, (strikes a chord, sings very high. His 
 voice breaks) 
 
 Dick, (others groan, etc.) Gosh. Cut it out, 
 Billy. 
 
 Billy. (turning to crowd) Then everybody 
 sing. 
 
 WARN DOG HOWL. 
 
 Eoss. (at l. of desk) Play it lower, that's too 
 high. 
 
 Billy. This is the only key I can play in. 
 
 Dick. Say Molly, relieve the situation? 
 
 (Eoss crosses l v below piano.) 
 
 Molly, (above piano) All right, come on boys. 
 (sits at piano. Taylor and Maud cross to piano, 
 Eeade sits on sofa with Betty. Billy crosses to 
 chair r. of desk and stands on it, to lead) 
 
 Billy, (on chair) Xow boys, all together. Give 
 it to 'em hard. Eeady. (Molly strikes chord) 
 Eins, zwei, drei. Go! 
 
 [All sinq the faculty song.) 
 
STKONGHEAKT. 29 
 
 « Faculty Song" 
 
 In Heaven above where all is love, 
 
 The Faculty won't. be there. 
 
 But down below, where all is woe, 
 
 The Faculty will be there. Singing, 
 
 C-O-L-U-M-B-I-A, C-O-L-U-M-B-I-A, C-0-L-U-M- 
 
 B-I-A, 
 Eay, ray, ray for old Columbia, 
 Cheer, now, boys, she's out of sight; 
 Ere the sun has sunk to rest in the cradle of the West 
 In the clouds will proudly float the Blue and White ! 
 
 (At the end of song dog is heard howling dismally.) 
 
 DOG HOWL. 
 
 Molly. (turning from piano) Why, what's 
 that? 
 
 Billy. (getting off chair) That's my pup. 
 (crossing to l. 3) Shut up, Siegfried. 
 
 (Taylor and Maud cross to c.) 
 
 Dick, (down R.) Where's Strongheart ? , 
 Frank. I sent him for teaspoons. 
 
 (Dick crosses up to head of couch.) 
 
 Betty, (on couch) He's not a bit like a savage. 
 
 (Taylor and Maud c.) 
 
 Maud. Oh, I think he is. 
 
 Dick. Well, if it comes to that, what is a savage? 
 Reade. (seriously) A human being in his native 
 state of rudeness. 
 
 Taylor, (slapping him on back) Oh, back up, 
 
30 STRONGHEART. 
 
 Reade. That's a freshman, (puts cracker in Reade's 
 mouth. Reade is holding plate of them) 
 
 Billy, (at piano, to Ross who is talking to 
 Molly) A savage is a man who minds his own 
 business. 
 
 (Ross turns aivay.) 
 
 Taylok. (to Maud) Oh, you saw how quiet he 
 was. If you don't notice him he won't hurt you. 
 
 Billy. Sure. Why, if you make friends with him 
 he'll eat right out of your hand. 
 
 Maud. Oh, I want to talk to him. 
 
 Betty. You know, I feel almost nervous. 
 
 (Strong enters r. 1 with 2 large tablespoons* 
 ' crosses to c, and hands them to Reade who 
 takes them to Frank l.) 
 
 Frank. Well, Strongheart, did you get the tea- 
 spoons ? 
 
 WARN DOG HOWL. 
 
 Strong. Yes. These are the best I could find. 
 
 Frank. Thanks old man, they'll do. 
 
 Taylor, (crossing down c. with Maud) Oh,. 
 Strongheart, I want to introduce you to Miss Weston. 
 
 Maud, (crossing to Strong, bashfully) Oh, how 
 do you do. I — I — I — I've heard — so much about 
 you. Tell me — how — do you like America. 
 
 (Everyone has a quiet laugh at her.) 
 
 Strong, (seriously) My people have always been 
 very fond of the place. 
 
 Molly, (crossing to l. c v laughing) I guess 
 you've forgotten, Maud, he's more American than 
 you are. 
 
 Maud, (very embarrassed) Oh, yes, of course*. 
 
STROXGHEAET. 31 
 
 How stupid of hie. (moving down stage) Mr« 
 Taylor, won't you get me some tea. 
 
 (Taylor crosses down to her. They retire up stage.) 
 
 Molly, (crossing to Strong) Why, no one has 
 offered you anything to eat. 
 
 Strong. Thank you, I am in training. So I may 
 not even smoke the pipe of peace with you. 
 
 (Dog howls dismally off l. 3. Billy crosses to l. 3.) 
 
 DOG HOWL. 
 
 Taylor. You'd better look after your pup, Billy. 
 
 Molly. Oh, I want to see him. 
 
 Billy, (l. 3) All right, besides they're going 
 to light the library dome to-night, and we can watch 
 it from the study window. 
 
 (All the following lines are spoken to make chatter 
 as the crowd exits l. 3. Taylor's line being 
 heard above the rest.) 
 
 Molly, (running to- l. 3, and out) Pine. It'll 
 be just like moonlight. Come on folks. 
 Billy. Fetch the guitar, Frank. 
 
 (Frank does so.) 
 
 Betty, (crossing) Oh, Mr. Nelson, Molly said 
 you were going to show us your football relics. 
 
 Frank. Yes, they're in the other room. 
 
 Taylor, (following the rest out) Say, Billy, 
 you'd better tie Siegfried in the other room, he'll 
 commit suicide if he hears you singing right next to 
 him. (exits) 
 
 Strong, (c.) He was just trying to join in the 
 chorus. 
 
32 STKONGHEART. 
 
 Molly, (off) Oh, what a perfect dear. 
 
 Billy, (off) Down Siegfried, keep off my— 
 clothes. 
 
 Dorothy (t/p fo l. c) So you're going to play 
 Thursday, after all? (crosses down l. to desk) 
 
 Strong, (crossing down c.) Yes. 
 
 Dorothy. I'm so glad. Frank says it means that 
 we'll win. Do you think we will ? 
 
 Strong. We are going to do our best. But they 
 are very strong this year. 
 
 Dorothy. Never mind. I want you to win this 
 game for Columbia. 
 
 Strong. Only for Columbia ? 
 
 Dorothy. Well, for me too if you wish. 
 
 Strong. Then I will play as I never played be- 
 fore for Columbia, and for you. It will be my last 
 game. 
 
 Dorothy. Your last game? 
 
 Strong. Yes. I have received another letter 
 from my people. They are waiting for me to come 
 back to them. 
 
 Dorothy. But you're not going yet? 
 
 Strong. No, not yet. But my college life will 
 iSOon be over, and then I wish to do for them all the 
 things we have planned out together. Miss Nelson, 
 you do not realize what you have been to me during 
 this past year. 
 
 Dorothy, (sitting in chair r. of desk) Have 
 I really then been of any help to you? 
 
 Strong. You have given me more than help, for 
 you showed me my duty to my people. You made 
 me know that the son of a chief must fit himself to 
 govern wisely. 
 
 Dqrothy. I did want to help a little. It is so 
 seldom nowadays that one meets a man of high pur- 
 pose and ideals. And your position gives you a great 
 opportunity. 
 
 Strong. It is you who showed me that. You 
 told me of the advantages civilization would bring 
 
STKONGHEAKT. 33 
 
 to my people. That when we had learned your ways 
 and obeyed your laws, you would call us brothers. 
 From that day my one thought, my one ambition 
 has been that your words might come true. Your 
 people and mine dwelling together in peace. It is 
 for that I am working, and you showed me the way. 
 
 Dorothy. You give me credit I do not deserve. 
 You have worked alone, (rises) and I want you to 
 know, Strongheart, that for what you have done T 
 admire and respect you. 
 
 Strong. (much moved, but impassive) Miss 
 Nelson, what you think of my work means very much 
 to me, you have made me very happy. 
 
 Dorothy, (crossing to l. of desk, towards door) 
 We'd better join the others. 
 
 (Strong follows her to l. 3.) 
 
 Molly, (off) Oh, please, please, don't whip 
 him. 
 
 Billy, (entering l. 3, Molly following crosses 
 down c. ) Siegfried, do you hear that kind ladv beg- 
 ging for you? 
 
 Strong, (at l. 3) What is the matter, William, 
 is the pup in disgrace? 
 
 Molly, (giggling) He ate three strings off the 
 guitar, and Prank is putting on new ones in the 
 midst of a most profane silence. 
 
 Strong. Be gentle with him, Billy. After giv- 
 ing him such a name, you cannot blame him if he 
 has a taste for music, (he and Dokothy exit) 
 
 Molly. You'll let him off this lime, won't you? 
 
 Billy. Pll let you buy his pardon. 
 
 Molly. What with ? 
 
 Billy. Five minutes' conversation in here. 
 
 Molly. Isn't that a big price for such a. small 
 dog? 
 
 Billy. Oh, of course yon needn't pay it. (sfoo/)- 
 ing down and shaking dog by collar) Come on here, 
 
34 STEONGHEAET. 
 
 you beast. Pll teach you to eat guitars. I know 
 where there's a belt with a big, fat buckle on it. 
 (shakes dog) 
 
 Molly, (stooping down and taking dog) Oh, 
 please don't. 
 
 Billy, (craftily) Will you buy him off? 
 
 Molly, (decidedly) Yes. (rises) 
 
 Billy, (crossing and putting dog out r. 1. Closes 
 door) Come on, you beast. It's a good thing you 
 had that kind lady to plead for you. (turns to 
 Molly) Now. 
 
 Molly, (looking at watch) Eeady? 
 
 Billy, (looking at watch) Eeady. 
 
 Molly, (sitting comfortably on couch) Go. 
 
 Billy, (crossing to upper end of couch) Now, 
 will you answer my question? 
 
 Molly. What question ? 
 
 Billy, (pointing l. 3) The one I asked you in 
 there. 
 
 Molly. Well, if you really want me to believe 
 that I'm the only girl you ever cared anything about, 
 you've got to do something to prove it. 
 
 Billy, (sits) Yes, but gee whiz, a fellow can't 
 do anything heroic nowadays without getting pinched. 
 Now, if you and I'd only lived about 'steen hundred 
 years ago. 
 
 Molly. Yes, and what would you have done, 
 brave Sir Billy? 
 
 Billy, (perfectly simply) Oh, the usual stunts. 
 I'd have browsed around on a nickel-plated plug 
 until I got up against some gazabo that thought his 
 lady fair was the whole cheese. Then I'd tell him he 
 had bats in his belfry, and that I was carrying a 
 pretty fine line of ladies fair myself. Then I'd put 
 him out of business just to show him that my lady 
 fair was the main squeeze. 
 
 Molly. Sav, Mr. Saunders, you're awfully ro- 
 mantic, aren't you? 
 
 Billy. Yes, I guess I am, now. But before I 
 
STRONGHEART. 35 
 
 met you I was several chips shy on romance. Say, I 
 know what I can do. (rises, backs to c.) If you 
 want me to, I'll try and kill the other center for you, 
 next Thursday. 
 
 Molly, (rising and crossing to him) Oh, no, 
 don't kill him on my account, (rises and crosses) I'll 
 tell you what you can do. Give me something that 
 means a great deal to you. Something you've sworn 
 you'd never part with. (Billy pulls out his watch 
 and offers it) Some girl's picture or something. 
 
 (During this speech Billy feels his scarf pin and 
 ring.) 
 
 Billy. Why, I never was much of a lady's man, 
 Miss Molly, and I guess this list of signals is the 
 only thing I haven't got the right to give away. You 
 see no girl ever thought enough of me to give me 
 anything of her own. (he has had his hands in his 
 pockets during this speech. Noiv pulls out his right 
 hand with the stockings in it and wipes his forehead. 
 Sees what he has and quickly passes them behind his 
 back to l. pocket. Then takes out signals from in- 
 side pocket) I suppose these signals might do, be- 
 cause if any one knows that I let them go out of my 
 hands, well, it would be down and out for mine. 
 
 Molly, (delighted) Oh, then I'll hold you in 
 my power, won't I? 
 
 Billy, (dubiously) Ye-e-es. (gives her signals) 
 I'll have to get them from Taylor, (moves a step 
 to the l.) 
 
 Molly, (holding the signals out before her) Oh, 
 it's just splendid to hold a man's honor in your hands. 
 
 BlLLY. (crossing and putting his hands under 
 and over hers) Yes, hut don't drop it. 
 
 Dick, (entering l. 3, crosses to l. c.) Say, Billy, 
 they want you to lead the band. Come on — come on ! 
 
 Billy, (unwillingly) Oh, all right, (crosses to 
 
36 STKONGHEAET. 
 
 l. 3, and waits for Molly. Dick steps in front of 
 her and turns to Billy) 
 
 Dick. On your way! (Billy exits. Dick turns 
 to Molly and speaks very sternly, folding his arms) 
 Look here, you mustn't take our band master into a 
 corner. 
 
 Molly, (imitating) Now. don't you think that 
 just because you're a few years older you can boss, 
 your little sister, because (kisses him) you can't. 
 (runs out l. 3. Dick stands looking after Molly) 
 
 Dick. No word from Skinner. I wonder if any- 
 thing's gone wrong. Oh, what a fool I am. 
 
 (Crosses up to window seat and sits, head in hands. 
 Strong enters l. 3, sees Dick, closes door. 
 Noise startles Dick who looks up.) 
 
 Dick. What? Oh, it's you, Strongheart? 
 
 Strong, (crosssing to him) Yes. What is the 
 matter ? 
 
 Dick, (crossing down stage) Oh, nothing. I've 
 been a bigger fool than usual, that's all. 
 
 Strong, (crossing down to him) Dick, you and 
 I are old friends. We have hunted together and faced 
 danger side by side out there in the West. You and 
 Frank are like brothers to me, I know all your moods, 
 and for the last few days I have noticed that you have 
 not been yourself. What is it old man ? If a friend 
 can be of any help, tell me all about it. 
 
 Dick. Well, you know what an idle good for noth- 
 ing sort of a chap I've always been. 
 
 WARN $OXG. 
 
 Strong. I know Dick that you are the most 
 generous faithful friend a man ever had. 
 
 Dick, (crossing to desk and sitting on the edge) 
 Yes- that's the trouble. I'm too generous, I don't 
 
STKONGHEART. 37 
 
 recognize the difference between spending money of 
 my own, and spending other people's. 
 
 (Off ii., mixed voices heard singing the " Amici." 
 Continued until curtain. Words of ".. Amid.") 
 
 SONG: 
 
 I. 
 
 Our strong band can ne'er be broken, 
 It can never die ; 
 Par surpassing wealth unspoken, 
 Sealed by friendship's tie. 
 
 Refrain. 
 
 Amici usque ad aras a 
 Deep graven on each heart, 
 Shall be found unwavering, true, ; 
 
 When we from life shall part. 
 
 IT. 
 
 Memory's leaflets close shall twine 
 Around our hearts for aye, 
 And waft us back o'er life's broad track 
 To pleasures long gone by. 
 
 Refrain. 
 til- 
 College life is swiftly passing. 
 Soon its sands arc run. 
 Rut while we live we'll ever cherish, 
 Friendships here begun. 
 
 "Refrain. 
 
38 STKONGIIEAKT. 
 
 (Music in book " Columbia University Songs" C. 
 H. Ditson Co., B'way., N. Y ., $1.00.) I 
 
 Strong. What have you done? 
 
 Dick. I've contracted debts that I have no means 
 of paying. I've been careless about these things be- 
 fore now, but lately I — I've wanted to be better 
 somehow, I've come to care a good deal for a girl, 
 and I've been keeping pretty straight lately, but- — now 
 there's the devil to pay. 
 
 Strong. Go on. 
 
 Dick. You know the other night, Buckley said I 
 was too fine and told me to break training? 
 
 Strong. Yes. 
 
 Dick. I went out and had a few drinks, and then 
 somehow I got to Thome's room. There was a crowd 
 there playing poker. 
 
 Strong. College men? 
 
 Dick. No. I had just drunk enough not to know 
 what I was doing but not enough to show it. When 
 I got through, I had lost three thousand dollars. 
 Then Thorne persuaded me to borrow that much 
 more from him and back Columbia, in the hope of 
 winning it all back again. 
 
 Strong. So you are six thousand short. 
 
 Dick. Yes. And more than that depends on the 
 game. 
 
 Strong. More ? 
 
 Dick. Yes, if we lose I must leave college dis- 
 graced and will have no right to speak to — (hesitates) 
 
 Strong. To whom, Dick. 
 
 Dick. I won't name her now, not even to you. 
 But it's the girl I 
 
 Strong. The girl, Dick ? 
 
 Dick. Yes. I'd be disgraced in her eyes. 
 
 Strong. Why did not you tell me of this before ? 
 
 Dick. (rising from desk) You haven't any 
 money to spare, Strongheart. 
 
 Strong, (crossing to l. c.) That is not the 
 
STEONGHEAET. 39 
 
 point. There is some combination here, I do not 
 quite see through. • There must be something in it 
 for Thorne. 
 
 Dick. Thorne ? 
 
 WARN CURTAIN. 
 
 Strong. Yes. Thorne saw you were not your- 
 self, and then won your money. Thorne lent you 
 more. Thorne got you to bet. I do not like the looks 
 of it. 
 
 Dick. But what has he against me? 
 
 Strong. I do not know. But I will find out. 
 (rises and takes Dick by the arms) Look here, old 
 man, you are the only hope we have got in Thursday's 
 game. Now you think football, talk football, eat foot- 
 ball, and dream football, and I will just take a hand 
 in this other business myself. 
 
 Dick. No, it's a bad mess, Strongheart. You'd 
 better keep out of it. 
 
 ("Amid" sivells for a moment.) 
 
 Strong, (pointing l. 3) Dick, do you hear what 
 the}^ are singing in here? " Friends until death." 
 That is what our college stands for, and am I not 
 one of you ? 
 
 Dick, (very firmly) Yes. 
 
 Strong. Then fight for " her " Dick and whatever 
 comes we will face it together. 
 
 CUETAIN. 
 
40 STKONGHEAKT. 
 
 ACT IL 
 
 Scene: — Dressing room of the Columbia team at the 
 Polo Grounds, New York. A dingy white 
 washed room, bare floors and walls. Everything 
 dirty. Door R. 3 opening on to balcony. Large 
 window R. 1. Roius of lockers across back wall 
 and doivn l. wall. A long bench across stage at 
 back. Shorter bench in front of lockers l. 
 Water bottles, sponges, buckets, toivels, blankets 
 and sweaters, etc., lying around on bench, floor 
 and lockers. Backing for door and window R. 
 shoivs a corner of the field. The Grand stand 
 and gridiron cannot be seen. The general effect 
 is one of confusion. At the end of this act will 
 be found a list of off stage shouts, and the cues 
 for their occurrence are marked in the act. The 
 signals for these shouts should anticipate the 
 cues a bit, or be given exactly on the cue, depend- 
 ing on how far the men are from the scene, and 
 how long it will take the shout to reach the scene 
 after the signal is given. 
 
 Time: — Two days later. Before the curtain rises 
 crowd is heard as if in distance, singing a 
 Columbia football song to the tune of " Navajo." 
 1. This is followed by the Columbia yell. The 
 curtain goes up on the letter " U" in the yell. 
 It rises on an empty stage. After the yell there is 
 a long shout, a short pause, after which Nash is 
 heard shouting: "No, I won't. 33 Then enter 
 through door r. 3, Josh. Nash and Tad. Josh 
 and Tad support Nash who is cut about the head 
 and his right leg is injured. He is covered with 
 mud and wrapped in a blanket. They take him 
 to c. in front of bench. He struggles to get out. 
 Tad carries bucket of water and sponge and 
 there are several bandages on the bench. 
 
STEONGHEAET. 41 
 
 Josh. Over here, Tad — (to Nash) Come on, 
 Tom, let me look at that leg. 
 
 (Lays Nash on floor in front of bench,) 
 
 Nash, (struggling to get up. Tad hold: him) 
 No, I won't. Say, Josh, why won't they let me play ? 
 
 Josh, (sponging his leg) Why you can't stand 
 up, Tommy. 2 
 
 (Outside is heard the chant, " Tear 'em up, touch 
 doivn," four times — followed by " Hold 'em" 
 four times.) 
 
 Nash, (struggling to get up) What's that? Why, 
 they've got the ball again. Let me out, damn it, let 
 me out there, (outside is heard a long, exultant 
 cheer) There they've scored ! Why won't they let 
 me play Josh? 
 
 Tad. (holding Nash) Naw they ain't scored. 
 The half's over. 
 
 Nash, (exultantly) Half's over? Then we held 
 'em. (faints) 
 
 Josh, (bandaging his leg) Sure Tommy. We'll 
 lick the pants off 'em next half. 
 
 (Enter r. 3, Frank, Dick, Thorne, Billy, Ross, 
 Strongheart, followed by fifteen men who make 
 up team and substitutes, also rubbers carrying 
 water bottles and sponges. The team, plastered 
 with mud and dirt, some of them limping and 
 cut to the bench l. also sprawl on floor. Sub- 
 stitutes to bench at back, Ross with subs, who 
 are not dirty like the I earn. Ross sits on R. mil 
 of bench. Men ir'ear blankets. Prank takes off 
 his blanket and puts if tinder Nash's head, I hen 
 sits on floor, /rubbers sponge off faces of 
 Irani and during the following Dick bandages 
 Frank's left hand, Josil blindage* N veil's 
 
42 STEOXGHEABT. 
 
 leg and Tad bandages Taylor's head. Also 
 looks the other men over to discover any hurts. 
 The men sit without speaking and keep up a 
 deep panting until Buckley starts to speak to 
 them. After the team gets on, there is a short 
 pause, then enter Buckley in a long, gray coat 
 and soft hat. His voice is heard in the distance 
 before he enters. As he nears the door his voice 
 grows louder. He says "Athletes, my eye. Do 
 you think you can make athletes out of a bunch 
 of cigarette smoking cocktail drinking idiots? " 
 Then he enters R. 3 and going down in the R. 
 corner stands surveying the men with deepest 
 contempt and scorn on Ids face.) 
 
 Buckley. Well, you're a pretty fine lot of football 
 men, you are. You ought to be out somewhere play- 
 ing ping pong. Do you men realize that the eyes of 
 the University are on you? That if you lose this 
 game you're a disgraced team without a single damn 
 chance to redeem yourselves? I never saw a team 
 play such a silly game way up in the air, high as hell 
 all the time. Boss, come over here. You play tackle 
 next half. (Eoss crosses to lower end of bench L.) 
 Thorne, you've got to keep low. You missed your 
 tackle twice, Now if you do that again, you come 
 off this team. Three times they got through you, 
 and the second time the whole damn line came 
 through. You ends, whip up your speed, whip it up. 
 Get down that field and be waiting for the ball, and 
 when the man catches it, kill him, down hard in his 
 tracks. Frank, (Frank crosses down to him) keep 
 closer on defence, keep your eye on that ball and fight 
 for every drop there is in you. (Frank goes back 
 up stage. Buckley turns to team) For Heaven help 
 this aggregation, if you lose. Livingston, don't get 
 penalized : you've cost the team twenty yards to-day. 
 And you backs, don't get fooled, if a play don't smell 
 good to you, keep out of it till you see where the ball's 
 
iSTRONTGHEABT. Vd 
 
 going. Saunders, fight, fight — you're a good center 
 but you're too pacific. Don't be so damned polite. 
 Get into the other man and kill him. Get mad, 
 damn it all, get mad. — — — I don't seem to be 
 able to talk a spirit of fight into this team. You're 
 not making an afternoon call, you're playing football,, 
 so fight for it every inch of the game. If you do we 
 can pull it through. No one scored last half so they 
 think they can win. But they can't if you'll only 
 show you're true blue and smash it in. You men 
 have been relying too much on Strongheart and Dick, 
 but they can't play the whole game by themselves. 
 Break up their interference and kill the ends. Why 
 you haven't put a single end out of business to-day. 
 Now when you go out on that field you win this 
 game. It's going to be hard as hell but you can do it. 
 And remember that you're representing your Univer- 
 sity, and you've got to win this game if it kills the 
 whole damn team ! That's all. 
 
 (He turns from men who begin to talk in low tones 
 among themselves, objecting to being roasted so 
 unmercifully when they have put up^a very stiff 
 game, no one having scored. Dick crosses to 
 window, Billy too.) 
 
 Strongheaht. (rising from floor in front of Xasii 
 and crossing down to Buckley r. c. Ross acting 
 nervously on bench l.) I say, Buckley, look out for 
 your freshman tackle there. He is so nervous and 
 frightened he will be no good. 
 
 Buckley That's the worst of having to put in a 
 fool freshman in the middle of a big game. 
 
 Strong. Oh, the boy is all right, only you've got 
 to make him mad. (Jo over and insult him. 
 
 Buckley, (looks t Strong, then nods assent. 
 Crosses to Ross and calls him eery sharply) Here 
 
 ROSS, come hero. (Ross rises and crosses to him) 
 
44 STBONGHEAET. 
 
 Now, I want you to understand that Pm putting you 
 in this next half to play football, not puss-in-the- 
 corner. 
 
 Boss, (nervously) Fll do th? best I can. 
 
 Buckley. Oh, punk ! That's what you've always 
 said. But you haven't hurt anyone since the season 
 began. Now you've got to mix i': up with someone 
 to-day, or I'll know what the boys say is true. 
 
 Boss. Why, what do you mean? 
 
 Buckley. They say you're afraid to get in the 
 game. That you want the name of belonging to the 
 team, but you're afraid to fight for it. (Billy starts 
 to cross to l. sloiuly) 
 
 Boss, (getting mad) Who the devil said that? 
 
 Buckley. Never mind. 
 
 Boss, (madder) Do you say it yourself? 
 
 Buckley. I think from the way you play it's 
 quite likely. 
 
 Boss, (wild) Look here. Do you think I'm going 
 to let you or any other man call me a coward ? No ! 
 (throws down head guard) You take that back or 
 coach or no coach I'll — — 
 
 (Billy steps dotvn and shoulders Boss to end of 
 bench. Sits him down hard.) 
 
 Billy. All right, old man, take it out on the other 
 team. 
 
 (Boss very angry fights him all the way back to 
 bench.) 
 
 Strongheart. (to Buckley) That is all right. 
 He will play good football now. 
 
 i 
 
 (Josh exits r. 3. Dick crosses to Strong.) 
 
 Dick. Well, Strongheart, they're not easy to beat, 
 are they ? 
 
STEONGHEAKT, 45 
 
 Strong. No. But we will do it. They haven't 
 given us that 3-16-8 play yet. 
 
 Dick. Maybe Frank's afraid I'll miss it. And 
 you know how much d pends on this game for me. 
 
 Strong. Dick, you are the best "back" in 
 America, and you will win this game for Columbia, 
 and for "her" on 3-16-8. Now, don't get down 
 about it. Whoever she is, we will make her proud 
 of you next half. 
 
 (Strong and Dick go up stage c. Josh comes to 
 door r. 3.) 
 
 Josh. Say Mr. Buckley, Mr. Farley the manager 
 of the other team wants to speak to the Captain. 
 
 (All men rise and say " Farley? " " What's that?" 
 etc., in tones of surprise and wonder. Buckley 
 crosses to r. 3.) 
 
 Buckley. Farley? (turning l.) Frank, look 
 here. (Frank crosses to him) Farley wants to 
 speak to you. 
 
 Frank. Well, he'd better come in here. 
 
 Buckley, (to Josi^) All right, bring him in. 
 (Josh exits. Buckley turns to men) Now, the 
 manager of the other team is coming in here. What 
 he wants I don't, know. But I want this team to 
 look pleased about the game, (to Nash, who is 
 lying on floor) Try and sit up Tom. (Nash does 
 so, helped by Tad and Strong.) Here he conies. 
 Now damn you look happy! 
 
 (Everyone puts on a very broad smile. Enter JOSH 
 r. 3 followed by Farley. Farley is dressed 
 in a long loose, overcoat, soft felt hat with wide 
 brim and wears a side line badge. I'miscs at 
 door. All look at him.) 
 
46 STKONGHEAKT. 
 
 Frank, (crossing to R.) Come in, Farley. You 
 wished to see me ? 
 
 (Dick sits on R. end of the bench.) 
 
 Farley, (crossing down r.) Yes, Nelson. I tried 
 to see you before the first half, but could not get at 
 you. I came on rather a disagreeable errand, so Fd 
 better come right to the point. (Frank, Buckley 
 and Farley stand together during this scene ex- 
 treme R.) There's a man somewhere in Columbia 
 football affairs that ought to be kicked out. 
 
 Frank. What do you mean? 
 
 Farley. I mean that a complete list of your 
 signals came to me by mail yesterday. 
 
 Frank. Why, it's impossible. What motive could 
 make one of our men betray his team? I can't be- 
 lieve it. 
 
 Farley. Well, I've heard from a reliable source 
 that some Columbia man has been backing our team 
 heavily. I suppose it was the same man who sent us 
 the signals, and thought you might like to know 
 about it. 
 
 Frank. Then you knew our signals during the 
 first half? 
 
 Farley. Hold on, Nelson. We make sportsmen 
 at our college, too. Not one of my team has seen 
 this list except myself, (takes it out of pocket) 
 We'll try to win this game without any help from 
 Columbia. I give you my word of honor that I my- 
 self have not read this list. 
 
 Frank. I beg your pardon, Farley, I was too 
 quick. Your word is quite sufficient, (extends his 
 hand, Farley takes it) 
 
 Farley. Well, I won't keep you any longer. I've 
 only done what I thought was the square thing in 
 bringing this back, (hands Frank the envelope) 
 Now, it's up to you. I'll see you later. 
 
STRONGHEABT. 47 
 
 (Exits R. 3 in a dead silence. As soon as Tie is off 
 Frank turns to team, mad.) 
 
 Frank. Boys, some member of this squad is no 
 Columbia man, and has got to be kicked off this team 
 before next half, (holds up list) Our signals have 
 been sent to Farley. 
 
 All the men. (rising) What ! ! ! ! 
 
 (Dick crosses down c. between Strong and Frank.) 
 
 Buckley. Yes, who's done this? (crosses to 
 L. c.) 
 
 Thorne. (crossing doivn l. c.) Maybe you can 
 tell by the writing. 
 
 (Frank starts to open the list but cannot hold it in 
 his l. hand which is bandaged. He hands list 
 to Strong.) 
 
 Frank. Open it for me. 
 
 (Strong takes list, opens it, sees writing, starts and 
 puts the list behind him.) 
 
 Billy, (when Strong starts at seeing list) Well, 
 who is it ? Do we know him ? 
 
 Frank, (holding out hand for list) Let me see it. 
 
 Strong. Do you not think we had better wait 
 until after the game ? 
 
 Thorne. No. Let's see now. 
 
 Frank. Give it to me. 
 
 Strong. Not now, Frank. 
 
 Frank. Why, what's the matter? Do you know 
 the writing ? 
 
 Strong, (looking at him steadily) Yes. 
 
 (The team give a start and begin to suspect 
 Strqng.) 
 
48 STKONGHEAKT. 
 
 Thorne. This concerns the whole team and the 
 whole team should deal with it. 
 
 Dick, (crossing down between Strong and Frank) 
 Show it to us, Strongheart. A man who would do a 
 thing like this deserves no consideration. 
 
 Strong. You advise me to show it Dick? 
 
 Dick. Yes, of course. 
 
 Thorne. Come, we can't wait all day. 
 
 Strong. Why are you so anxious to see it now? 
 
 Thorne. Because we have a right to know that 
 the man whose shoulder is against our own is an 
 honest man. Come, will you show it to us or not? 
 
 Strong. I will not. 
 
 Thorne. If you don't it will look as if you hdd 
 reasons for concealing it. 
 
 Strong. "What do you mean. Thorne? 
 
 Thorne. It will look as if the writing were your 
 own. 
 
 Strong. Thorne ! (makes a move toward 
 Thorne, Dick holds Mm) 
 
 Thorne. Show me the list and if I'm wrong I'll 
 apologize. I've got nothing against your personally, 
 but I want to see the man who wrote that kicked 
 off the team. 
 
 Billy, (down l.) Boys, you know Strongheart. 
 If he's got a reason for not showing us this until 
 after the game, it must be all right. I say we leave 
 it until then. 
 
 (The extra men should be divided into several squads 
 of two or three men. Each squad with different 
 lines.) 
 
 All the men. No ? no. Show it to us now. 
 Strong, (to Dick) You do not doubt me, Dick? 
 Dick. Old man, if the signals had been in my 
 writing, would you have doubted me ? 
 
 Strong, (firmly) No, Dick, I would not. 
 
STKONGHEAET. 49 
 
 (Dick moves up stage and to the l. a bit.) 
 
 Fkank. (to Strong) I don't doubt you either, 
 old man, but we must make some explanation to the 
 team. Come, out with it. 
 
 Strong. I have no explanation to offer, (to 
 team) But boys, I give you my word of honor 
 
 Thorne, It is your honor that is in question. 
 
 Thorne. I shall not answer for it to you, Thome. 
 
 Prank. Thorne, the team has elected officers to 
 manage its affairs, and we don't care for your help. 
 
 Thorne. Then, why don't the officers manage its 
 affairs and not let an Indian come here out of a 
 w T igwam and run things to suit himself. 
 
 (Dick and Buckley stop Strong and Thorne.) 
 
 All of them. Show us the list. Let's see it now. 
 We've got a right to see it. 
 
 (Kept up strong until Frank quiets them. Strong 
 crosses to R. Dick and Buckley go down l.) 
 
 Frank, (going up to men) Boys, it's better to 
 handle a matter like this with the greatest secrecy. 
 Meet at my house to-morrow at five o'clock and we'll 
 talk things over. Until then not a word out of this 
 team. 
 
 Dick. And remember, boys, that Strongheart has 
 not admitted that it is his writing. 
 
 Thorne. That's a trick to use to-morrow and I 
 demand in the name of the team, that at least one 
 man see that list now. 
 
 Frank. Why ? 
 
 Thorne. So that to-morrow we shall know it has 
 not been changed. 
 
 All THE men. Yes. Do that. That's a good 
 plan. Show it to someone. 
 
50 STEONGHEAET. 
 
 '(Kept up until Frank quiets them.) 
 
 Prank. All right, boys, but you're making a 
 mistake, (turning to Strong) Strongheart, will 
 you show the list to Billy? 
 
 Strong. Yes. 
 
 Billy. ( crossing to c. and speaking to team and 
 Thorne) I'll look at it for you, but I want to say 
 right here, that if it's signed with his name and has 
 got two witnesses, / don't believe it. (crosses to 
 Strong r., then talk among themselves) 
 
 Strong. You understand, Billy, not a word of this 
 Until to-morrow. 
 
 Billy. Sure, word of honor. Let's see the thing. 
 
 (Strongheart shows it to him, Billy starts with 
 amazement.) 
 
 Billy. Judas Iscariot ! That's Dick's writing. 
 
 Strong. Hush ! If Dick knows a word of this 
 he will go all to pieces and we will lose the game. 
 
 Billy. So that's why you're taking the blame. 
 
 Strong. We have got to win this game Billy. 
 And there is a girl out there who must see Dick win it. 
 
 Billy. Strongheart, I'm proud I know you. (an 
 idea strikes him) Holy cat! If that's Dick's writ- 
 ing it must be the list he gave me. 
 
 Strong. How did it get out of your hands? 
 
 Billy. Why — I've got to keep my face shut,, 
 Strongheart, for if I squeal now it lets in a girl. 
 
 Strong. A girl ? 
 
 Billy. Yes. I gave the list to M a girl, and 
 
 she's made a fool of me. But it isn't right for you to 
 take the blame and I'll tell the fellows 
 
 Strong. That will not help matters now, Billy. 
 
 Billy. Well, I suppose we've both got to keep 
 mum, to shield a woman's honor, but I wish I could 
 take the disgrace for you. I — Oh, damn everybody.. 
 (turns away up stage — to team) 
 
STKONGHEART. 51 
 
 Strong, (turning to team l.) Boys, I want to 
 say one thing. I do not blame you for doubting 
 my word, for the thing must look very suspicious. 
 But if you watch my play next half, you will see 
 which college I want to win. (a slight stir among the 
 team) 
 
 Thorne. (stepping forward) Why you can't — 
 Frank, (quickly and loudly) Shut up, Thorne! 
 
 (Dick pulls Frank bach and Frank, Dick and 
 Buck talk in pantomime about keeping Strong 
 out of the next half. Finally Frank crosses to 
 Strong and Dick and Buck go down l.) 
 
 Frank. Strongheart — I'm afraid that — damn it 
 old man, you know what Fve got to say and Low it 
 hurts me to say it, but as Captain of the team I have 
 no choice. 
 
 Strong. You mean — they will not let me play 
 next half ? 
 
 Frank. Yes, and I can't help it. 
 
 Strong. But I — do you realize, Frank, that this 
 means disgrace? 
 
 Frank. It's as hard for me as it is for you, old 
 man. (turns to team) Boys, don't you think we'd 
 better keep Strongheart in the game ? 
 
 All the men. No. No. Not on your life. We 
 can't run any risks this next half. Too much depends 
 on it. 
 
 Billy. Let's keep him in, boys. 
 
 Thorne. No. Duty to the team must come before 
 personal friendship and we have no right to let a 
 man play who has sold the game. 
 
 Strom;. Boys, can't you trust me until to- 
 morrow? Nothing has been proved against me, ami 
 yel yon make my disgrace public. 
 
 Dick, (to learn) It's a terrible thing to disgrace 
 a man. Have we the right to do it on mere suspicion? 
 
52 STEONGHEAET. 
 
 Thorne. (down to Dick l.) It is necessary for 
 the good of the team. 
 
 Prank. The good of the team requires that he 
 play. 
 
 Thorne. (up to Frank r.) We don't know that 
 he'll play his game. It's too dangerous and we 
 haven't the right to risk it, have we boys? (turns to 
 men) 
 
 All the men. ISTo. It's too important that we 
 win this next half. We can't take any chances. He 
 ought to be kept out. 
 
 One of the men. (stepping out) Kick him off 
 the team ! 
 
 Billy, (throwing the man back and going c.) 
 That's about enough from you. Now you hear me 
 chirp for a while. Some of this push is going to be 
 at Frank's to-night and Strongheart's going to be 
 with us, and I want to remark right here that if any 
 yap out of this gang let's a hint of this business get in 
 front of his teeth, he'll stop going to parties for about 
 three months. 
 
 Thorne. (crossing to Billy) Look here, Billy, 
 you're making too much fuss about this Indian 
 (movement from Strong) and I shall say what I 
 please without your permission. 
 
 Billy. If you open your mouth about this to- 
 night, Ealph Thorne, girls or no girls, I'll turn you 
 inside out. 
 
 Buckley, (in extreme l. corner down stage) Say, 
 stop this infernal private scrapping. We've got a 
 game to think about and time's almost up. " A 7 arsity 
 this way. 
 
 (Team moves down to him l. and forms circle with 
 their arms on each other s shoulders and he in 
 the c. of the ring explaining the next plays in 
 pantomime.) 
 
 Strong, (stopping Frank) Frank, have you 
 asked Thorne to vnur house to-night ? 
 
STKONGHEART. 53 
 
 Frank. Yes. But now Pll tell him not to eome. 
 
 Strong. No, he must be there. 
 
 Frank. But, didn't you hear? 
 
 Strong. Yes. That is why. Wow, do as I say, 
 old man, I have a reason. 
 
 Frank. All right, he may come, but Fd like to 
 punch his head. 
 
 Buckley. Come on, men, get ready, get ready. 
 
 (Circle breaks up and men move up stage looking 
 over their harness and fixing their clothes gen- 
 erally preparing for the second half. Buckley 
 crosses to doors R. 3, and stands looking at the 
 team.) 
 
 Frank. Strongheart, old man, 
 
 Strong. It's all right, Frank. If I were in your 
 place, I should do as you have done. 
 
 (Frank shakes his hand and then joins Buckley up 
 stage. Pantomines to Bill who is talking to 
 Buckley to go down stage and talk to Strong 
 who has crossed to c. Billy crosses down.) 
 
 Billy, (to Strong) Strongheart, you're saving 
 this game by keeping Dick in it. There are sonie 
 things a fellow can't say, old man, but I want to tell 
 you that — (explosively) God help the man who 
 plays against me next half. (turns up to stage 
 quickly to team. Strong crosses toward l, Dick 
 crosses to him) 
 
 Dick. Is there anything 1 can do, old man? 
 
 Strong. Yes, Dick, hit the line low, and when it 
 comes to 3—16-8 remember 1 am not behind you. 
 
 (They grasp hands. Dick goes up C.) 
 
 Buckley, (r. c.) jSTow then, men, don't forget 
 
54 STRONGHEART. 
 
 to smash it in. Everybody out and fight for Co- 
 lumbia. 3 
 
 (Men give a loud shout and exit R. 3. All exit but 
 Strong who is on bench l., Nash who is on 
 floor a, head towards door, and Josh who, as the 
 last men exit, brings a blanket down and lays it 
 around Strong's shoulders.) 
 Josh. Don't ketch cold, Mr. Strongheart. 
 (crosses to door) Dat's bum luck, (exits R. 3) 
 
 Strong, (after a moment's silence) She told me 
 to win it for her — my last game, (looks at signals. 
 On off stage cue " Ready? " " Yes, Columbia ready? 
 Yes ". Nash rises up a little as if to see out window. 
 Then a burst of cheering and sound of a kick. Start- 
 ing for window) It's up! 
 
 Strong, (starting for window) It's up ! 
 
 (Nash turns on him quickly vAth an expression of 
 suspicion and watches him intently. Strong 
 walks up and down L., trying to control his de- 
 sire to get out into the game. On cue outside 
 "Tear 'em up, touch down" Nash speaks.) 
 
 Nash. Strongheart, that thing's not in your writ- 
 ing, is it? 
 
 Strong. No, Tommy. 
 
 Nash, (joyfully) I knew it. Now, tell me 
 what's doing out there. 
 
 (Struggles — Strongheart crosses to window and 
 Nash gets in a position so that he faces 
 Strong.) 
 
 Strong. I will. (at window) Oh, Tommy, 
 they're driving us back. It's on our 50 yard line. 
 Now, look out for the left end. I thought so, there 
 it goes around. Now, Thorne, low — Good God. 
 Tommy, Thome's missed it. They've got a clear 
 
STBONGHEAET. 55 
 
 field, no, no, there's Frank. Go on, Frank, go on, 
 you've got him. 4 Now, drive, drive ! Good work, 
 good work, he got him, Tommy. 
 
 Nash. Where is it ? Where's the ball ? 
 
 Strong. On our fifteen yard line. Oh, now, boys, 
 you've got to hold 'em. 5 Now, Billy, get into them, 
 get into them. Now, push, shove them back. Kill 
 them, why don't you kill them. That's it, that's it, 
 it's down for no gain, Tommy, 6 we held them. 
 What's the matter? Oh, someone is hurt, of course 
 just at this time. Why can't they — what? (de- 
 lighted) Tommy, it's one of their men — it's their 
 centre. Billy rough-housed him. 7 (crosses and 
 shakes Nash's hand. Shouts out window) Good 
 work, Billy. 
 
 WABN CUBTAIN. 
 
 Nash. Is he out of it? 
 
 Strong, (crossing to window) No, he is going 
 on playing. 8 Now, thev are ready. It is our ball. 
 Oh, Tommy, it is 3-16-8. 
 . Nash. 3-16-8. 
 
 Strong. Oh, if we are going to win it is on this 
 play. Oh, I ought to be in it. Now, careful, boys, it 
 is our one chance. 9 It's up, Tommy. Good work, 
 Dick, good work. Look out, Billy, look out for their 
 end. That's it — kill him. Good work, boys. Oh, 
 Tommy, they're through, no one but Burns in front 
 of them. Bun. Dick, run, run. Look out, look out, 
 for Burns. Oh, he's tackled. What? Billy? Good 
 work, Tommy, Billy's got them both in his anus. Oh, 
 he cannot do it. Yes, he can. (N"ASH starts to crawl 
 to Strong) Good work, Billy, go on just a yard fur- 
 ther, just a yard. That's it, Billy, that's it. Over 
 the line, over the line. Oh— he did it. Tommy. 
 (Nash snatches hold of Strong's leg and struggles 
 
 UV and fooL-s out of window) lie did it. We've won 
 the game; we have won the game. 10 
 
56 STEONGHEAET. 
 
 (Strong and Nash shout and wave their arms to Hie 
 team as they come on. Terrible yell outside and 
 then all the men come piling onto the stage, 
 through the window and door, shouting for all 
 they are worth. Buckley comes in last and 
 goes down to the curtain line c. and raises his 
 hands. The men stop their indiscriminate yell- 
 ing and moving, and give this yell : — 
 
 COLUMBIA! 
 
 COLUMBIA ! 
 
 COLUMBIA ! 
 
 COLUMBIA ! 
 
 COLUMBIA ! 
 
 COLUMBIA ! 
 
 EAY— EAY— BAY, C-O-L-U-M-B-I-A! 
 
 CURTAIN*. 
 
 (Followed by a long, strong shout which keeps up 
 until second curtain. First curtain comes down 
 on the letter " A " in the yell. Shout shoidd die 
 out gradually. On entrance Frank and Dick 
 cross down to Strong and shake hands with 
 him.) 
 
 CUETAIN. 
 
 SONGS OFF STAGE. 
 
 SECOND ACT. 
 
 LEADER'S LIST. 
 
 1. 
 
 (Tune— ' Navajo") 
 
 C-O-L-U-M-B-I-A, 
 
 Onward, Columbia, victory to-day, Columbia, 
 
STBONGHEAET. 57 
 
 Cheer our team, boys, game through and through, 
 Cheer for the White and Blue. 
 
 (A cheer.) 
 
 C-O-L-U-M-B-I-A, Bay— Bay— Bav— C-O-L-TT-M- 
 B-I-A. 
 
 (A yell) 
 
 2. 
 
 Tear 'em up, touch down, 
 Tear 'em up, touch down, 
 Tear 'em up, touch down. 
 Hold 'em, hold 'em, hold 'em, hold 'em. 
 
 (A yell. A whistle. Entrance of men.) 
 
 3. 
 
 fight for Columbia ! 
 
 (A loud short yell, and team exits.) 
 
 C-O-L-U-M-B-I-A, RAY— BAY— BAY, C-O- 
 L-TT-M-B-I-A. 
 
 (Tune— "Dolly Gray".) 
 
 The good old Blue and White will fix you, 
 Bound your ends they'll quickly glide, 
 Something tells me that the dinners 
 Will come from Morningside. 
 See them through the centre \ fling 
 There's a touch down right in right, 
 Hark! Columbia men are calling, 
 GOOD WOBK, Blue and White. 
 
 (A yell.) 
 
58 STBONGHEAET. 
 
 Ready ? Yes. Columbia ready ? Yes. 
 
 (A whistle followed by a yell. Tune — " Down where 
 the Wurzberger flows/') 
 
 Oh, it's down, down, down, where the 
 
 Blue and White goes, goes, goes, 
 
 All the town, town, town, will soon know how wa 
 
 vanquish foes, 
 A smash thro' the centre, a dash round the end, 
 Oh, .sure, then, it's useless your goal to defend, 
 Five yards may be fine, but a touch down for mine, 
 Down the field Blue and White goes. 
 Oh, it's down, down, down, where 
 
 Hoo-rah ! Hoo-rah ! Hoo-rah ! 
 Eay, ray, ray, ray, ray ! 
 Y-a-a-a-a-a-a-a-a-a-ah ! 
 
 Rip 'em up, tear 'em up, 
 Rip 'em up, tear 'em up, 
 Rip 'em up, tear 'em up, 
 Rip 'em up, tear 'em up. 
 
 {A long yell rising very high, then, going down, then 
 swelling again.) 
 
 (Tune— "'Battle Cry of Freedom".) 
 
 Oh, it's tackle hard and low, boys, 
 It's nail 'em where they stand, 
 Ray, ray, ray, for old Columbia, 
 And it's every play a " go ", boys, 
 You're the finest in the land, 
 Ray, ray, ray, for old Columbia. 
 
 {Refrain.) 
 Columbia, forever, hurrah, boys, hurrah, 
 
STEONGHEAET. 59 
 
 We are the people, we are, yes, we are. 
 Then, it's push 'em down the field, boys, 
 We've got 'em on the run, 
 Bay, ray, ray, for old Columbia. 
 
 (A yell) 
 
 4. 
 
 (Refrain of " Battle Cry of Freedom ".)' 
 
 Columbia forever, hurrah, boy's, hurrah, 
 We are the people, we are, yes, we are. 
 Then it's push 'em down the field, boys, 
 We've got 'em on the run, 
 Eay, ray, ray, for old Columbia. 
 
 5. 
 
 Hold 'em, hold 'em, hold 'em, hold 'em. 
 
 (Tune — "Battle hymn of the Republic".) 
 
 Glory, glory for Columbia, 
 Glory, glory for Columbia, 
 Glory, glory for Columbia, 
 This is Columbia's day. 
 
 6. 
 
 (LONG YELL— WHISTLE— PAUSE.) 
 
 7. 
 
 (LONG YELL— HAND CLAPPING.y 
 
 TToo-rah ! TToo-rah ! TToo-rah ! 
 Eay, ray, raw ray, ray. 
 Y-a-a-a-a-a-a-a-a-h ! 
 
60 STROKGHEART. 
 
 8. 
 
 (WHISTLE FROM REFEREE.) 
 
 9. 
 
 (Yell, followed by "Battle €ry of Freedorrk") g 
 
 Oh, it's tackle hard and low, boys, 
 It's nail 'em where they stand, 
 Kay, ray, ray, for old Columbia. 
 And it's every play a " go ", boys, 
 You're the finest in the land, 
 Kay, ray, ray, for old Columbia, 
 
 (Refrain.) 
 
 Columbia, forever, hurrah, boys, hurrah, 
 We are the people, we are, yes, we are. 
 Then, it's push 'em down the field, boys, 
 We've got 'em on the run, 
 Kay, ray, ray, for old Columbia. 
 
 10. 
 
 (Yell.) 
 
 (This yell, after the first strong outburst, is kept 
 up quietly in a high hey, while the men 
 get to their position outside of backing r. 1 e. 
 On the speech from the stage, " We've toon the 
 game " , it breaks into a high, long, strong shout 
 and the men all rush on stage yelling for all 
 they are worth. They grab each other and hug 
 and roughhouse the scene generally with move- 
 ment and noise. Buckley enters last and goes 
 down to the curtain line c. and raises his hands. 
 When he does so all the men stop and give him 
 their attention. On the first drop of his hands 
 
STEONGHEAET. 61 
 
 they give a yell with all the strength in their 
 lungs. — 
 
 COLUMBIA! 
 
 COLUMBIA! 
 COLUMBIA! 
 COLUMBIA! 
 COLUMBIA! 
 COLUMBIA! 
 Bay— ray— ray, C-O-L-TT-M-B-I-A ! 
 
 Then the yell starts again and is kept up very 
 loudly until the second curtain, or " Clear " is 
 called. The yell does not stop abruptly, but 
 should die out gradually.) 
 
 ACT III. 
 OFF STAGE MUSIC CUES. 
 
 I. Two step. 
 (Takes up curtain.) 
 
 Stop — " It is interesting, isn't it ? " 
 
 II. Waltz. 
 
 Warning — "Sister of the hero of the hour?" 
 Start — "I don't think she's quite recovered yet.'* 
 Stop — " Oh, Molly, what am I to do V 
 
 III. Two step. 
 
 Warning — " Will you sit out this dance with me f " 
 
 Start — " That was yesterday." 
 
 Stop — "Been on another tear, BeadeV 9 
 
 IV. Waltz. (" Amoureuse.") 
 
 Warning — "Hello, Stronglwarl, you're late." 
 
62 STKONGHEAKT. 
 
 Start — " Won't talk to anyone hut you/ 9 
 Stop — "Dorothy's exit r. 3 e." 
 
 V. Two step. 
 
 Warning — " If you couldn't trust me ? ** 
 
 Start — " There's nothing to be done." 
 
 Stop — " You're sure nothing ivill happen to him? : 
 
 VI. Waltz. 
 
 Warning — "Finish your cigar, Thome." 
 Start — "It will not help you now." 
 Stop — "I ask your consent." 
 
 ACT III. 
 
 Scene: — Library in the home of the Nelson's. 
 Time. — Evening of the same day. 
 
 A large, richly-furnished room, hung with tapestries. 
 Furniture and decorations in dark colors. Large 
 window at back c. with curtains. The curtains 
 are drawn apart. Door to hall l. 1 e. Door to 
 dancing room l. 3 e. Door to morning room 
 r. 3 e. Large fire-place r. 2 e. Large library 
 table with rich lamp c. Book rack with tele- 
 graph blanks, matches, cigarettes, rich cigar 
 case with cigar and matches in it, box of marsh - 
 mallows and hatpin on table c. Chairs l. and 
 at back of table, settee above l. 3, arm-chair in 
 front of fire-place — between l. 1 and l. 3, 
 facing down stage. A large fur rug in front 
 of fire-place. A small stand with cigarettes, 
 matches, and a dark-brown bowl with brown 
 and yellow chrysanthemums below L. 1, chair 
 in front of bookcase R. Pedestals with a 
 large fern in a handsome jardiniere in front of 
 
STRONGHEAET. 63 
 
 bookcase l. and below fire-place R. On mantel, 
 handsome clock and candelabra, also box of 
 matches. Two light brackets with rich globes 
 over each bookcase. At rise foots and first bor- 
 der, white and amber, full up. Turn on reds at 
 cue from stage manager. Should be 8 red lamps 
 in foots on R. side. Calcium steel blue. Re- 
 mains throughout act. Bunches, white, l. 1 b., 
 to go out with foots, first border and brack- 
 ets on cue from stage manager. Bunch light for 
 musicians to remain on throughout act. l. 3, 
 Calcium, red, in fire-place, also electric fire-log. 
 Reds in foots, calciums in fire-place and on 
 back drop and border on drop, fire-log, table 
 lamp, bunch for musicians should be independ- 
 ently connected, to stay on throughout act. 
 Everything else off at cue from stage manager. 
 Lights go on again, same as at rise, on cue front* 
 stage manager. 
 
 .(Two step for rise.) 
 
 A dance is going on l. 3. As the curtain rises a 
 two step is being played. 
 
 DISCOVERED:— Maud and Eeade at table c. 
 Maudl sitting back of table feeding Eeade 
 marshmalloi: on a hatpin. Eeade leaning 
 against chair l. of table, facing up stage. Tay- 
 lor and Betty down l. Betty sitting in chair, 
 Taylor standing, smoking and talking to her. 
 
 Maud, (when curtain is up) You know, Mr. 
 Reade, it's awfully nice to meet a man who can talk 
 real sense. 
 
 (Two step slops.) 
 
 Reade. It is interesting, isn't it? 
 
64 STEOXGHEAET. 
 
 (Enter Molly and Eoss l. 3. Molly crosses down 
 to c. and Taylor crosses to c. to greet her as she 
 speaks to him. Bops crosses down to Betty and 
 stands talking to her.) 
 
 Molly. Ah, Mr. Taylor, you haven't said how-do- 
 you-do to me yet. 
 
 Taylor, (shaking hands) I tried to earlier in 
 the evening, but couldn't break through to yon. 
 
 Molly. A beautiful crawl. But to-night I can 
 forgive a member of the team anything, (dances to 
 r.) Oh, isn't it just splendid. I haven't rested a 
 single minute since we won the game. 
 
 Taylor. Then, you like being the sister of the 
 hero of the hour. 
 
 (Dorothy enters l. 3, and crosses down to c.) 
 
 (Warn waltz.) 
 
 Molly. I haven't been so proud of anything since 
 I put on my first long frock. 
 
 (Eoss crosses at back to R.) 
 
 Dorothy. You should have seen her this after- 
 noon, Mr. Taylor, she wanted to get out on that field 
 and help, and I don't think she's quite recovered yet. 
 (crosses to chair in front of fire) 
 
 Molly. I don't want to recover, thank you. 
 
 (Waltz stops.) 
 
 Eoss. (crossing down to Molly) May I have 
 a dance, Miss Molly? 
 
 (Eeade crosses to Betty and Taylor crosses up to 
 Maude.) 
 
STKONGHEAKT. 65 
 
 Molly. Yes, you may have the one after this. 
 
 (Boss writes on card and goes up stage followed by 
 Molly.) 
 
 Taylor, (to Maud) This is ours, you know. 
 
 Maud, (as they exit) You know it's awfully nice 
 to meet a man who can talk clever nonsense. 
 
 Taylor. I can talk nonsense all right, but as to 
 its being clever 
 
 (They exit l. 3, followed by Eoss.) 
 
 Eeade. (to Betty) Shall we sit it out, Miss 
 Bates ? 
 
 Betty, (rising with a sigh) Oh, no, let's dance. 
 (exit L. 3, quickly) 
 
 Reade. (starting after her) Oh, of course, if you 
 prefer it. Wait for me, please, I'm coming, (exit 
 l. 3) 
 
 Molly, (crossing down toward l. 1) He's late, 
 isn't he, Dorothy? 
 
 Dorothy, (crossing and sitting in chair l. of 
 table) What? Who? 
 
 Molly, (crossing, to her) Why, Soangataha, of 
 course. Do you know, Dorothy, I shouldn't be a bit 
 surprised if he did it to-night. 
 
 Dorothy. Why, Molly, what on earth are you 
 talking about? 
 
 Molly. You dear old goose, you know perfectly 
 well what I mean. 
 
 Dorothy. Molly, don't be absurd. 
 
 Molly, (stepping back) Well, I like that. You 
 must think I'm either blind or a man. Why, any- 
 one who's half feminine could see that he's been bead 
 over heels in love with you for a year, (crosses and 
 sits on arm of chair) 
 
 Dorothy. Has he? 
 
 Molly. Why, of course. It's a perfect romance. 
 
66 STEONGHEAET. 
 
 He saves your brother's life, is civilized through love, 
 and all is gas and gaiters. 
 
 Dorothy. Molly, if I ask you a question, will 
 you be serious? 
 
 Molly. As serious as I can be. 
 
 Dorothy. Then, tell me, if he were in love with 
 you, and asked you to marry him, what would you 
 do? 
 
 Molly. Am I supposed to be in love with him ? 
 
 Dorothy. Perhaps. 
 
 Molly. Well, if I were in love with him, and he 
 proposed to me, Pd say yes before he'd finished ask- 
 ing me. 
 
 Dorothy. But, his race. 
 
 Molly. (rising and stepping back) Dorothy 
 Nelson, do you mean to tell me that if you really 
 loved a man, a thing like that would make any differ- 
 ence? 
 
 Dorothy. But, what would mother and Frank 
 say? 
 
 Molly. Oh, they might be a little startled at first, 
 but they'd soon get used to it. (crossing to chair) 
 Why, do you love him, Dorothy? 
 
 Dorothy, (rising) Oh, I don't believe it's love, 
 it's just fascination, and yet if it were love, I — 
 (turns to Molly) Oh, Molly, it's terrible to be 
 afraid of love. 
 
 Molly. Dorothy ! 
 
 Dorothy. This has been growing on me for a 
 year. I've fought it and fought it, but I can't put it 
 away, (crosses to R.) I'm afraid of it, Molly, I'm 
 afraid, (turns to Molly) Oh, it can't be love if I 
 have that feeling. And yet, there's something about 
 him that makes all the others seem small. A great 
 purpose, and absolute truth in his eyes, (crosses to 
 Molly) Oh, Molly, what am I to do? 
 
 (Waltz starts.) 
 
 Molly. Dorothy, when he speaks to you, never 
 
STKONGHEAKT. 67 
 
 mind reasons, just say to Mm whatever your heart 
 tells you to say. 
 
 Dorothy, (kissing her) Thank you, dear. 
 
 (Warn two step.) 
 
 Billy, (entering l. 1) Miss Livingston, — Good- 
 evening, Miss Nelson. (Dorothy looks at them, 
 sees she is de troy, smiles and exits l. 3. Eoss and 
 Dick enter l. 3. Eoss crosses down to Molly's r., 
 and Dick, to back of table) Miss Livingston, will 
 you sit out this dance with me? I want to talk to 
 you. 
 
 Molly. I promised this to Mr. Eoss, but you 
 may have the next one. 
 
 (Eoss gives her his arm and they exit l. 3. Eoss 
 laughing at Billy. Billy watches them off, 
 mad.) 
 
 Dick. (after they exit) What's the matter, 
 Billy? I thought you had secured every two step 
 with Molly. 
 
 (Two step starts.) 
 
 Billy, (crossing to R.) That was yesterday. 
 
 Dick, (coming in front of table) Something 
 gone wrong, eh ? 
 
 Billy, (going up stage) I've had a sort of bunco 
 game played on me, that's all. 
 
 Dick. Who by? 
 
 Billy, (coming down stage) Girl, of course. 
 
 Dick. Who was she? 
 
 Billy, (turning to him) Say, you talk like an 
 examination paper, I can't tell you who it is. ami all 
 I want is to be let alone. 
 
 Dick. Oh, all right. I thought maybe 1 could help 
 you out, that's all. 
 
68 STEONGHEAET. 
 
 Billy, (crossing to him) Dick, if you weren't her 
 brother, I could tell you the whole mix-up. 
 
 Dick. Oh, then, it's Molly? 
 
 Billy. Yes, how did you — I'm an ass! (crosses 
 to l. 3) 
 
 Dick, (laughing) What are you talking about, 
 Billy? 
 
 Billy, (going off l. 3) I don't know, I've got to 
 find Strongheart. 
 
 (Enter l. 3 Maud, holding up her dress the ruffle of 
 which is torn, followed by Eeade. She crosses 
 down to c. He goes to r. c.) 
 
 Eeade. It was very clumsy of me, you know my 
 feet always get in the way when I dance. 
 
 Maud, (with suspicious sweetness) Oh, it doesn't 
 matter. 
 
 Dick, (at back of table) Been on another tear, 
 Eeade ? 
 
 (Two step stops.) 
 
 (Enter Dorothy and Frank *,. 3. Dorothy crosses 
 down to Maud, Frank up l. c.) 
 
 Eeade. I wish I knew how you kept off a girl's 
 train. 
 
 Maud, (turning to Dorothy) Oh, Dorothy, a 
 pin? 
 
 Dorothy, (taking her toward r. 3) You poor 
 thing. Come with me. 
 
 Eeade. I'm awfully sorry. 
 
 Frank. It's our fault. We should have warned 
 you about Eeade. 
 
 Maud, (stopping, Dorothy passes onto door) It 
 doesn't matter (very bitingly) a bit. (site and 
 Dorothy exit r. 3) 
 
 Dick. Well, Tommy, that makes two to-night, 
 
 Eeade. She said it didn't matter- 
 
STEONGHEAET. 69 
 
 Frank, (crossing to him and putting hand on 
 shoulder) Oh, Tommy, you've got a lot to. learn. 
 You'd better sit out the next one. 
 
 Eeade. I will, (exit l. 3, looking at his dance 
 card) . 
 
 Prank, (crossing to R.) Hasn't Strongheart come 
 yet, Dick? 
 
 Dick. No. 
 
 Frank. We've got to talk over that signal busi- 
 ness to-night. 
 
 Dick. Yes, and there's something else I want to 
 talk to you about. 
 
 Frank. What is it ? 
 
 Dick, (very embarrassed) It's — it's — you see I — 
 have a cigarette, (hands one from table and lights 
 it for Frank) It's about — Dorothy. Frank, I want 
 to ask her to marry me. 
 . Frank, (whistling) Say, that is important. 
 
 Dick. If she says it's all right, will you say a 
 good word for me to your mother ? 
 
 Frank. You bet I will, Dick, and I hope Dorothy 
 says yes. 
 
 Dick, (happily) Thanks, old man. I thought it 
 was only square 10 speak to you first. 
 , Frank, (.shaking Dick's hand. Eeade enters l. 3, 
 stands at door) Why, you old idiot, you know I'd 
 rather it was you than any one else in the world. 
 
 Eeade, Say, Frank, have you an encyclopedia 
 here ? 
 
 Frank. Yes, you'll find all the books up there. 
 (points to bookcase up l.) 
 
 Eeade. Thank you. I'm going to explain to Miss 
 Bates the nebula hypothesis, (goes up to case L. of 
 window) 
 
 Frank. You're perfectly welcome, help yourself. 
 (he and Dick start towards l. 3. STRONG enters 
 1.1) 
 
 (Waltz warn " Amoureusc, ) 
 
70 STKONGHEART. 
 
 Dick. Hello, Strongheart, you're late. 
 Frank. We were afraid you weren't coming. 
 Strong, (crossing to r.) I was detained by this 
 signal business. 
 
 (Billy enters l. 3, and crosses quickly down to 
 Strong r.) 
 
 Billy. Thank the lord you're here. 
 Dick. Billy's been having a fit about something 
 and won't talk to anyone but you. 
 
 (Enter Dorothy and Maud r. 3. They cross to l. c.) 
 
 (Waltz starts.) 
 
 Prank, (to Maud) Have you been able to repair 
 the damage, Miss Weston? 
 
 Maud. Oh, yes. 
 
 Eeade. (turning away from bookcase and offering 
 his arm) Shall we finish it, Miss Weston? 
 
 Maud. Which, the dance or the gown ? 
 
 Frank. Don't be too hard on him. 
 
 (Exit l. c. Eeade and Maud follow talking,) 
 
 Dick, (crossing up to Dorothy) May I have 
 the last to-night, Dorothy? 
 
 Dorothy. Why the last? 
 
 Dick. Because that's the one a fellow always 
 remembers. 
 
 (They stand talking and move down stage on cue 
 " Like life, isn't it!') 
 
 Strong, (to Billy) What have you found out? 
 Billy. Dick put that list, with his own hand in 
 the top drawer of his desk, where I found it! 
 Strong. Were you alQne when you got it? 
 
STKONGHEABT. 71 
 
 Billy. Sure. Xo — I'm a liar. Thorne was in 
 the room. 
 
 Strong. He had been alone in the room? 
 
 Billy. He was alone when I got there. 
 
 Strong. Good, find out from Dick, whether the 
 list he gave you is the only one he wrote. 
 
 Billy. All right, (takes a step l. and then bach 
 to Strong) Say, this affair is just like life, isn't it? 
 
 Strong. How, Billy? 
 
 Billy, (seriously) It would be bully fun if it 
 wasn't so damned serious. 
 
 Dorothy, (quickly) Are you speaking of the 
 dance, Mr. Saunders ? 
 
 Billy. (very embarrassed, backing up around 
 table to l.) Oh, no, only life, that's all. (crosses 
 down to Dick) 
 
 WARN LIGHTS. 
 
 Dorothy, (crossing to Strong) I'm glad you've 
 come. 
 
 Billy. Dick, are you engaged for this dance? 
 
 Dick. No, Billy. 
 
 Billy. Then I wish you'd give it to me. I want 
 to ask you a few questions. 
 
 Dick, (going up to l. 3) Oh, I see, the brother 
 instead of the sister, (they exit l. 3.) 
 
 Strong. Am I too late to ask for a dance ? 
 
 Dorothy. I didn't know you danced. 
 
 Strong. Your government will not let me. But 
 I hoped you would sit one out with me. 
 
 Dorothy, (looking at card) Certainly, shall we 
 say this one? 
 
 Strong. It cannot come too soon for inc. Sit 
 here, (indicating chair in front of fire. DbROTHT 
 crosses and sits) So that the firelight may fall upon 
 your face as it did so long ago. 
 
 Dorothy. That night of our first camp. 
 
 Strong. Yes. 
 
72 STKONGHEAKT. 
 
 Dorothy. How frightened I was at the cry of 
 the mountain lion. 
 
 Strong. It did not show in your face, and your 
 hand was as steady as my own. (crossing above her) 
 There, now you look as you did then. The night 
 that began my life. Ah/ what a beautiful night it 
 was. We had no walls then to keep the moonlight 
 out, and no lamps to drown the firelight. 
 
 Dorothy. We do not have such nights here. 
 
 Strong. You have them, but you do not use them. 
 See? (crosses to button above fire-place and touches 
 
 LIGHTS OFF. 
 
 it. All the lights but table lamp and Reds in foots go 
 out. Calcium and border on back drop also stay on) 
 Is not this better ? 
 
 Dorothy. Yes. (leaning toward fire) Now, I 
 can see again the figures we traced that night in the 
 fire. 
 
 Strong. Do you remember what they were pic- 
 tures of ? 
 
 Dorothy, (nods her head) You were telling me 
 the love stories of your people, and showing me each 
 scene in the embers. And I was telling you how dif- 
 ferent it is with us in the east. 
 
 Strong. But we decided, that after all, love is 
 love, whether it be in the East or in the West. 
 (kneels in front of fire) 
 
 Dorothy. But since then surely you have shown 
 the pictures in the fire to someone else. 
 
 Strong. I have shown them to you. I do not 
 wish to show them to another. 
 
 Dorothy. Somehow, whenever I am tired of the 
 noise and rush of all this, I think of those great, 
 silent mountains, smiling up at the sun, or showing 
 to the dark, gray clouds a face as stern and grim as 
 their own, but always peaceful. 
 
 Strong. You do not belong shut between four 
 walls. You have the spirit of the forest. The voice 
 
STKONGHEAET. 73 
 
 of the stream tells the same story to you as to me. 
 You understand the message the wind bears when 
 it comes fresh and cool from the snows above. 
 
 Dorothy. Then I want to forget the nothings 
 that form our life here and go out there — alone. 
 
 Strong. Not alone. There is always one in whose 
 company the sunshine is brighter, the wind softer 
 and the peace greater? Miss Nelson, (rises) when I 
 told you what you had been to me, I kept back the 
 greatest thing of all. You know my plans and hopes, 
 but the greatest hope I have never told you, the 
 hope of my love. 
 
 Dorothy. Your love? 
 
 Strong. And now I tell you of it, because 
 it is you I love. I have waited for two years to tell 
 you. From the moment you came into my life, I 
 knew that your love was the only thing in the world 
 worth having. I am ambitious, I wish to raise my 
 people, but even that seems small, compared with 
 the giant love you have awakened. 
 
 Dorothy. You love me? 
 
 Strong. The thought of you has guided me and 
 has been my strength. And now I speak your 
 tongue, I think your thoughts, and I love you with a 
 love as great as my mountains and as pure as the air 
 about them. Give me the right to tell you more of 
 that love. 
 
 Dorothy. You love me? 
 
 Strong. If I am not what you would have me, 
 let me go on working. Only tell me that it is for 
 you. 
 
 Dorothy. Strongheart, I — (rises and crosses to 
 c.) I cannot answer you now, I don't know, 1 don't 
 know. 
 
 Strong, (crossing to Iter) I will wait. You must 
 be sure, for on your answer hangs the happiness of 
 my life, and, I hope, of yours. 
 
 Dorothy, (turning to him) Come lor your an- 
 swer to-morrow* 
 
74 STEONGHEABT. 
 
 Strong. I will leave you now to your thoughts. 
 (crosses to L. 3) But I will come for my answer to- 
 morrow. 
 
 WAEW LIGHTS. 
 
 (Exits l. 3. Molly enters l. 3, and crosses down 
 to c.) 
 
 Molly. My, how dark it is. (sees Dorothy and 
 runs to her) Oh, Dorothy, it's you ! 
 
 (They embrace and Dorothy lays her hand on 
 Molly's lips and exits r. 3. Molly stands 
 looking into fire. Billy appears in door l. 3, 
 and looks into room, uncertain whether Molly 
 is there.) 
 
 WAI/TZ STOPS. 
 
 Billy. Miss Livingston ? 
 
 Molly, (turning on lights) Yes, Mr. Saunders. 
 
 LIGHTS OX, 
 
 Billy, (crossing down l. c.) I think this is ours^ 
 
 Molly. (crossing towards l.) Yes, Mr. 
 Saunders. 
 
 Billy. Do you mind if we sit it out? I want to 
 cell you what's doing,. 
 
 Molly. Yes. (sighs. Crosses to chair l. of table 
 and sits) And what is doing? 
 
 Billy. You know I told you that if you lost those 
 signals, it would be down and out for mine? 
 
 Molly, (putting her hand to bodice where sig- 
 nals are) If I lost the signals? 
 
 Billy. Yes, I say " lost " because it's the kindest 
 word to use. 
 
 Molly, (rising) Mr. Saunders, I don't under- 
 stand a word you're saying, but I gather from your 
 tone that you mean it to be rude. 
 
 Billy. No, I'm trying to put it gently, that i% 
 all. 
 
 Molly. Put what gently ? 
 
STKONGHEAET. f» 
 
 Billy. You might have known you'd have been 
 found out. 
 
 Molly, (crossing to chair in front of fire, sits) 
 When you get through with this interesting conversa- 
 tion, perhaps you'll tell me what you're talking about. 
 
 Billy. Well, it's just this. You sent those sig- 
 nals I gave you to Farley. 
 
 Molly, (rising, amazed, facing him). What? 
 
 Billy. There's only one thing can make a woman 
 act that way, and that's — you know, (crosses to c.) 
 Why didn't you do the square thing by me and tell 
 me he was it? 
 
 Molly, (going up towards R. 3) r I have nothing 
 to say to you, Mr". Saunders. 
 
 Billy. Then you might as well know the rest. 
 (Molly stops and turns to him) One of the team 
 is going to be disgraced to-morrow on your account. 
 
 Molly, (crossing down) Why should he, if I 
 am the criminal. 
 
 Billy. Because a man would rather be knocked 
 out himself than give away a woman. 
 
 WARN TWO STEP. 
 
 Molly, (coming to him — starting to cry) Why 
 did you give them to me if you couldn't trust me? 
 
 Billy, (backing away) I did trust you. Oh, I 
 was easy fruit. I'm not excusing myself but you 
 have queered an innocent man's life, and you've 
 knocked out my faith in womanhood all right. Good- 
 bye, (up to L. 3) 
 
 TWO STEP STARTS. 
 
 Molly, (taking a step after him) What arc you 
 going to do? 
 
 Billy, (turning to her) There's nothing to be 
 done. Strongheart has made me promise to keep my 
 face shut. Oh, it's only toother poor Tool added to 
 
76 STKONGHEAKT. 
 
 the list of men who have trusted women, (exits 
 l. 3) 
 
 Molly, (taking a step toward l. 3, hands out) 
 Mr. Saunders ! ! 
 
 (Starts to cry and goes and sits in chair l. of table 
 sobbing. Enter Strong, l. 3. He goes to her.) 
 
 Strong. Why, little one, you are in trouble. 
 (Molly nods her head violently) Come, tell me all 
 about it. 
 
 Molly, (sobbing) Why, B-B-Billy gave me his 
 list of signals and now he's going to be disgraced 
 for it. 
 
 Strong. Did he tell you this? 
 
 Molly. . No, he's too noble, but it couldn't be any- 
 one else, (rises) Oh, Soangataha, can't you do some 
 thing to save him. He said I'd queered his faith in 
 womanhood. 
 
 Strong. Tell me, little one, how did you come 
 to lose the list? 
 
 Molly, (putting hand to bodice) Why, I didn't 
 lose it. 
 
 Strong. Then how did it get out of your hands? 
 
 Molly. Why, it hasn't left me for a single in- 
 stant since he gave it to me. I had a pocket made for 
 it in my dress, (crosses left, takes letter from her 
 bodice and hands it to Strong without turning to 
 him) Here it is. 
 
 Strong. . (taking it eagerly) It is not Dick's 
 writing. Little one, you need not fear, I think that 
 with this, I can promise you no disgrace will come 
 to Billy or any innocent man. (Molly takes a step 
 towards him looking happier) But, I must see Billy 
 at once. Will you send him to me, little one ? 
 
 Molly. I'd rather not, if you don't mind. You 
 see he suspected me of treachery and I'll never^speak 
 to him again, (coldly) 
 
 Strong* Oh, then, would you mind*sending Dick 
 
STBONGEEAKT. 7» 
 
 in? (crosses to fire and throws envelope in. Then 
 crosses back to c.) 
 
 Molly. Oh, no. (starts to exit then turns and 
 comes down to Strong) Oh, Soangataha, you're sure 
 nothing will happen to him? 
 
 TWO STEP STOPS. 
 
 Strong. To Dick? 
 
 Molly. No, to Billy. 
 
 Strong. Well, except your disfavor, Pm sure. 
 
 Molly, (shaking his liands) Oh, you're a per- 
 fect dear! 
 
 (Molly starts up stage as Billy enters. As soon as 
 she sees him she draws herself up and goes out very 
 stiffly without looking at h'm, he stands and watches 
 her, crossing to table as she goes off. Then he turns 
 to Strong with a " See what Fm up against " expres- 
 sion. Strong is amused,) 
 
 Strong. Well, what did Dick say? 
 
 Billy, (crossing down to him c.) He only wrote 
 one list and that was the one I got. 
 
 Strong. Good. That simplifies matters. 
 
 Billy. Yes, and it knocks out my last hope. I 
 guess things will be up to me, all right. 
 
 Strong. Look here, Billy, (shoivs him signals 
 from Molly) Do you know where I got thic list? 
 
 Billy, (looking at it puzzled) No. It's not the 
 one in Dick's writing we got from Farley. 
 
 Strong. No. It's the one you gave Molly. 
 
 Billy, (very much surprised) Judas Iscariot! 
 
 Strong. I just got it this moment from her. I 
 think if I were in your place I would make my peace 
 with that young lady. 
 
 Billy, (disgusted with himself) Stroiighecrf, 
 they say "There's a fool born every minute," but 1 
 guess I used up about five minutes' worth, (crosses 
 up to l. 3) 
 
 Strong. Wait a moment. We have work to do 
 
78 STEONGHEAET. 
 
 first. Now, listen carefully, Billy. (Billy crosses- 
 down to him) I want you to wait until Thorne is in 
 the room, and then send a telegram to someone in the 
 West End Hotel. 
 
 Billy. Well, fire away. I send a message to the 
 West End Hotel? 
 
 Strong. Yes, you cannot write it yourself on 
 account of your arm. So Thorne must write it for 
 you. 
 
 Billy. I tumble, what's the message ? 
 
 Strong. Say, " Left right after game. Awful 
 rush. Back at half -past ten. Billy ." 
 
 Billy. All right, but it's too deep for yours' 
 cordially. 
 
 Eoss. (off l. 3) Come on, Thorne, let's have a 
 smoke. 
 
 Thorne. (off l. 3) All right, old man, I'll be- 
 right with you. 
 
 Strong, (looking towards l. 3) Now, you stay 
 here and smoke. 
 
 Billy, (with mock humility) All right, master. 
 (get: a cigarette and lights it. Strong crosses to fire) 
 
 Eoss. (off) It w > third dowL rjid everything de- 
 pended o . i . (enters i. 3, folloivec by Thorne who ■ 
 cross.: t p. end of table cigur case. Takes out 
 cigar) I wa^ " r ht behij i tho time, and the way 
 he put thop~ two enc 1 on: of business, was worth 
 going twenty miles to see. 
 
 (Crosses down to stand below l. 1, and gets a 
 cigarette, and lights it.) 
 
 Billy. Hello, kid, how's the bum lamp? 
 
 Eoss. (hand to eye) All right, thanks, (sits in 
 chair between l. 1 and l. 3) 
 
 Thorne. (at upper end of table) Well, Billy, 
 how is Lady Nicotine after a ten weeks' absence? 
 
 Billy. Eight up to the limit, (giving a start 
 
STBON'GHEAfcT. 79 
 
 of surprise) By Jove, I wanted to send a telegram 
 and it's almost too late. Got a pencil, Thome? 
 
 Thorne. (taking it out of his pocket) Yes. 
 
 Billy, (sitting l. of table) I can't use this wing 
 Just write it for me, will you? There's a blank. 
 (Thorne takes blank from holder and prepares to 
 write) W. G. Abbott, West End Hotel, New York. 
 Left — right — after game. Awful rush. Back — at 
 half-past ten. Billy/' Thanks old man. 
 
 j(Thorne rises and crosses to fireplace, lighting his 
 cigar with match from mantel. Strong moves 
 up stage as telegram is finished and ow,Thorne's 
 cross goes down to Billy.) 
 
 Strong. I will send it for you Billy, (in a low 
 voice) Get Boss away. 
 
 Bill, (rising quickly) Holy Mackerel, that's so! 
 (crosses to Boss, Strong down c.) Say Boss, you 
 mustn't be in here with that eye. (pulls him up out 
 of chair) 
 
 Boss. Why not? 
 
 Billy. I knew a chap once had an eye just like 
 that, and one day he got tobacco smoke in it and he 
 never got the use of it again. 
 
 Boss. But I thought 
 
 (Beade enters sloivly l. 3. Crosses to table and very 
 deliberately spears two marshmalloivs on hat- 
 pin.) 
 
 Billy, (taking Boss up to l. 3) I don't believe 
 it's hurt it yet, the patch protected it. Come out 
 here and let me have a look at it. (pushes him out 
 l. 3, then sees Beade. Crossing io him, grabs him by 
 the shoulder and pulls him out L. 3. Beade trying to 
 eat marshmalloivs) 
 
 Billy, (as he hikes Reade off) You come out 
 
80 STKONGHEART. 
 
 here. I want to ask you a question about the battle 
 of Waterloo. 
 
 (Warn Waltz.) 
 
 Eeade. Waterloo? 
 
 Billy. Yes, you remember I asked you a 
 
 (Thorne, seeing he is alone with Strong, starts for 
 table to lay down his cigar and exit.) 
 
 Strong, (l. c.) Thorne. (Thorne stops) 
 Finish your cigar, I want to have a talk with you. 
 Look here, (shows Thorne list of signals. They 
 stand r. c.) Is not this list of signals in your writ- 
 ing? 
 
 Thorne. (looks at list — starts slightly and then 
 speaks very calmly) No. 
 
 Strong. Do not lie to me, Thorne, it will not help 
 you now. 
 
 (Waltz starts.) 
 
 Thorne. (indifferently) Oh, you seem to think it 
 is in my writing, (crosses to R. c.) Well, it's really 
 of very little importance to me what you think. 
 
 Strong. It may become of more importance when 
 I give these two papers to the meeting to-morrow ? 
 
 Thorne. (sharply, turning) What two papers? 
 
 Strong. This list of signals and this telegram 
 which three people saw you write, and which contains 
 the words end, left, right, rush, back and half. The 
 words are identical with those in the list, and prove 
 the two papers to have been written by the same 
 hand. Thorne you sent Dick's list to Farley, and I 
 can prove it. (Thorne turns, throws his cigar in 
 fire and makes a start for Strong. Strong stops 
 him with his voice) So, I tell you now, that to- 
 morrow afternoon I shall show the team that you are 
 a blackguard. 
 
 Thorne. (crossing to him) Look here, you're 
 interfering too much in my affairs. If you give me 
 
STEONGHEAET. 81 
 
 away, I'll show Frank and Dick how you have be* 
 trayed their confidence. 
 
 Strong. In what way ? 
 
 Thorne. By making love to Frank's sister. 
 
 Strong. We will not use a lady's name in this 
 discussion. 
 
 Thorne. Well, whether we use her name or not, 
 you know I'm right. I've watched you. 
 
 Strong. Well ? 
 
 Thorne. If you clear* Dick's name to-morrow, you 
 help your rival. 
 
 Strong, {surprised) Dick, my rival? 
 
 Thorne. Come, you can't make me believe you 
 didn't know that. 
 
 Strong. If Dick is the man she loves, she will 
 choose him. 
 
 Thorne. But, if you are the man she loves, they 
 will prevent you marrying her. 
 
 Strong. Why ? 
 
 Thorne. Because you are an Indian! (Strong 
 moves a step to the l. ? thinking this remark absurd) 
 If those boys knew you'd made love to her, they'd kick 
 you out of this house. 
 
 Strong, (facing Thorne) You lie! 
 
 Thorne. You think they are your friends? 
 (points to window) Stand behind that curtain and 
 see what they will do when I tell them. 
 
 Strong, (going to him) Thorne, vou are a 
 coward. 
 
 Thorne. Tt is you who are afraid, because you 
 know in your heart that what I say is true. 
 
 Strong. We shall see. 
 
 (Goes up to l. 3 and calls " Frank — Dick." After 
 Strong gets to L. 3, TnouxE crosses to w. in 
 front of fireplace. After STRONG calls men, lie 
 goes down to table c. and stands looking at 
 Thorne. When he stops (here, Kkaxk and DlOK 
 enter laughing.) 
 
82 STBONGHEAKT. 
 
 Frank, (crossing down l. c. Dick goes to l. As 
 soon as they see something's up they become serious) 
 You called us, Strongheart ? 
 
 Strong. Yes. I have been told that I betray your 
 confidence by loving your sister. (Both men give a 
 start) I have loved her for two years. For her I 
 have adopted the manners and customs of your people, 
 and if she accepts my love* I ask your consent. 
 
 Dick. How could you think that 
 
 Frank, (stopping him) Wait, Dick, this is my 
 affair. 
 
 Dick, (pushing past him to c.) I have the right 
 to make it mine. 
 
 Strong. You have the right? 
 
 Frank. Yes. I have given my word to Dick. 
 
 Strong. But, she, has she accepted him? 
 
 Frank. No. But whether she cares- for Dick or 
 not, you cannot speak of love to her. 
 
 Strong. I have spoken. 
 
 Frank. What ! 
 
 Dick. You have dared to make love to her? 
 
 Strong. Why should I not ? 
 
 Dick. Because you are an Indian. 
 
 Thorne. You see? (goes up above chair at fire 
 and remains immovable till the end of the act) 
 
 Frank. Strongheart, 3^ou are one of the finest 
 men I know, but you are not one of us. 
 
 Strong. Neither is a European, yet you would 
 give your sister to one of them. 
 
 Frank. It is not the same thing. 
 
 Strong. No, I have a greater claim. I am the 
 American. I speak your tongue, I obey your law, 
 I have lived with you, slept with you, eaten from the 
 same dish, and yet I am not one of you. 
 
 Dick. You are not one of us in race ! We trusted 
 you with our women, but when you spoke your love 
 you betrayed that trust. You 
 
 Frank. Wait, Dick. Not so fast. 
 
STKONGHEAET. 83 
 
 Strong. No, let him speak. It is time we under- 
 stood one another. You called me friend, there was 
 no question of face. I have the same education as 
 you, the same customs, the same feelings. 
 
 Dick. Still, you are an Indian ! 
 
 Strong. You do well to remind me of that. You 
 have taken from me the land of my fathers, and yet 
 when I live by your laws will not call me brother. I 
 am Soangataha, the son of a chief. In what way am 
 I not your equal ? 
 
 Frank. I tell you to keep away from my sister. 
 
 Strong. No. I will try to win her without your 
 consent. 
 
 Dick. Now, you show the treachery of your race. 
 You make love to our women — and it was you who 
 betrayed the team. 
 
 (Frank crosses up to l. 3, and looks off.) 
 
 Strong. What ? you dare say that ? 
 
 Dick. Yes, I dare. If you can be unfaithful in 
 the one case you can in the other. 
 
 Strong. Do you mean that ? 
 
 Dick. Show me those signals. 
 
 Strong. You force me to fight. Good, (takes out 
 signals) There are the signals we got from Farley. 
 
 (Dick takes them and crosses to l. c. Frank comes 
 down from door and looks at list with him.) 
 
 Dick, (astonished) My God, Frank, the writ- 
 ing's mine. 
 
 Strong. It is not my honor, but yours, that is in 
 danger. Now vindicate it yoursel f. 
 
 DlCK. (turning to him) Then yon sent this to 
 Farley? 
 
 Strong. You will have to prove thai to-morrow. 
 
 Frank, (crossing to c) Now, you're showing 
 
84 STRONGHEART. 
 
 what you are. I was a fool to bring you into my 
 house. 
 
 Strong. You have reminded me to-night that I 
 am an Indian. Good. An Indian knows how to re- 
 venge himself. 
 
 Dick, (crossing down -l.) Yes, on those who 
 took him into their homes ! 
 
 Strong. I was an Indian when you took me ! I 
 will not sacrifice my life to your prejudice, I will take 
 my answer from her. 
 
 (Starts up stage on r. of table. Frank goes up on l. 
 side of table and bars his way to l. 3. Dick up a 
 few steps.) 
 
 Prank. Strongheart, this is my house. I forbid 
 you seeing my sister ! 
 
 Strong. You have not the right. It is for her 
 to decide. If she will accept my love, it is not for 
 you to forbid it. 
 
 Dick, (crossing down) Have you no sense of 
 honor ? 
 
 Strong, (coming down) It is you who are false 
 to me, as your race has been false to mine. You have 
 robbed us of all we had, but you shall not take from 
 me the right to love ! 
 
 WARN CURTAIN*. 
 
 Dick. You shall not speak of love to her ! 
 Strong. Do you think you can stop me ? No. I 
 will speak now ! 
 
 (Starts for door l. 3. Enter Dorothy l. 3.) 
 
 Prank. If you dare say another word to my sis- 
 ter 
 
 Dorothy, (coming down a step) Why, boys, 
 what is the matter? 
 
STRONGHEAKT. 85 
 
 Strong. Miss Nelson, when I told you of my love 
 you asked me to wait, but you did let me hope. 
 
 Frank. Strongheart, leave my house ! 
 
 Dorothy. For shame, Frank. (down another 
 step) 
 
 Strong. Miss Nelson, what is your answer? 
 
 Dick. Dorothy, you don't understand ! 
 
 Strong. She does understand your injustice. She 
 knows it was you who called me from among my 
 mountains to be one of you. I was happy there. 
 You showed me the great life beyond, and now you 
 bid me keep back. You tell me that I may not share 
 it, but must stand outside, because I am an Indian. 
 No. I will not do it ! 
 
 (Dorothy starts to cross to him but Frank stops her 
 by taking her arm.) 
 
 Frank. Strongheart ! 
 
 Dick. Dorothy ! 
 
 Strong. I will come for my answer, to-morrow. 
 
 QUICK CURTAIN, 
 
 ACT IV. 
 
 Scene: — Same as Act III. Four o'clock on the 
 following afternoon. The furniture is arranged 
 for the meeting of the team. A chair below l. I 
 e. Three chairs between l. 1 and L. 3. Settee 
 above door L. 3. Four chairs up stage in front 
 of window and bookcase L. Chairs R. and L. of 
 table, and one in front of fire/dace. The stand 
 that lOOS below L. 1 IS now in front of book-case R. 
 Everything off table c. l)ul bookrock and cigar 
 case. Foots and first border, white and amber, 
 full up. Calcium on bach drop, amber to change 
 
86 STKONGHEAET. 
 
 to red on cue from Stage Manager, Firelog and 
 calcium in fireplace out. Reds go on in foots at 
 cue from Stage Manager. Foots and first border 
 are lowered, whites one-fourth, amber three* 
 fourths, at cue from Stage Manager. 
 
 DISCOYEKED :— Frank, sitting r. of table, read- 
 ing. As curtain rises, Billy's voice is heard 
 off l. 1 E. 
 
 Billy. I don't care to see the ladies, I'll wait in 
 here. 
 
 (Enter the Butter with a newspaper which he takes 
 to Frank and then exits l. 3. Billy follows 
 him on and goes up bach of table.) 
 
 Frank. Hello, Billy. 
 
 Billy. Morning. 
 
 Frank. Survived the mad revels of last night ? 
 
 Billy. No. Took cold and spent the night bark- 
 ing my fool head off. 
 
 Frank, (spreading paper out on table) Have you 
 seen your's and Dick': pictures in the paper? 
 
 Billy, (sitting oh back of table and leaning over) 
 No. (looks at pictures) Judas Iscariot! Do I look 
 like that? 
 
 Frank. Not enough to hurt you. 
 
 Billy. I suppose this is meant to be Dick ? 
 
 Frank. Yes. By the way where is Dick? 
 
 Billy. Up at college. Said he'd be down early. 
 Say, how do things look for him ? 
 
 Frank. Pretty bad, Billy. 
 
 Billy. The more I try to figure it out, the more 
 I get lost in the swamp. I guess Strongheart's the 
 only man that can straighten out the muss, and he 
 seems pretty well blued up over it. 
 
 Frank. Have you seen him to-day ? 
 
STKONGHEAKT. 8? 
 
 Billy. Sure. I bunked out in his rooms last 
 night. You see, I left my key in my other pants, 
 and when I got home rbout two o'clock every yap 
 in the place was dead to the world. 
 
 Prank. Why didn't you whistle ? 
 
 Billy. Whistle? Holy Cat, I whistled so loud 
 I woke a cop! But nothing doing. Then I trotted 
 around to Strongheart's rooms and made him put 
 me up for the night. Say, he seemed off his feed. 
 Do you know what's the matter ? 
 
 Frank. Is he coming here this afternoon ? 
 
 Billy. I suppose so. 
 
 Frank. Did he tell you anything? 
 
 Billy. Not a blooming syllable could I pump out 
 of him, except that he had shown you the list. I'd 
 never seen him so quiet. I guess he's worried about 
 Dick. 
 
 Frank, {very seriously) Perhaps. 
 
 Billy, (rising from table, slapping him on bach, 
 and crossing to Frank's r.) Here! Here! What's 
 the matter with you? Brace up and pretend you're 
 alive. Dick'll come out all right, so look happy when 
 the team comes, (looks toward l. 1) Here comes 
 somebody now. 
 
 Frank, (rising and crossing to l. c.) It's Molly. 
 
 Billy, (retreating up stage) Holy Cat! 
 
 Molly, (entering l. 1) Hello Frank, (seeing 
 Billy and finishing very coldly) Where's Dorothy? 
 
 Frank. In the morning room. 
 
 Molly, (starting for R. 3) I'll go to her. 
 
 Frank. Wait a minute, Molly. Here's Mr. 
 Saunders. 
 
 (Billy down a step.) 
 
 Molly. (stopping c. and speaking very coldly) 
 Oh, good afternoon, I didn't see you. 
 
 (Billy back up stage, crashed.) 
 
88 STRONGHEAKT. 
 
 Frank. I've got to look up some of the boys. 
 Entertain each other, you two, till I get back, (exits 
 quickly l. 1. Molly runs after him, but befoi*e she 
 reaches the door he closes it after himself. Billy 
 also takes several steps, toward l.) 
 
 Molly. (running) Oh, Frank!! (stands by 
 door very haughtily) 
 
 Billy, (crossing to her very embarrassed) That's 
 a pretty dress you've got on. (twists cap in his 
 hands) 
 
 Molly, (in society manner) Yes? And is that 
 a new cap you've got there ? 
 
 Billy. (looking at it in ivonder) No — yes ! 
 (there is a slight pause and then they both start to 
 speak at once. He says, " Miss " and she, " Mr." 
 Then they both subside. Then Billy speaks, very 
 firmly) Miss Molly, Fm a mut! (Molly looks in- 
 terested) I don't suppose after last night you care 
 to say anything to such a star chump, but I want to 
 tell you that I know, now, just how big an ass I am. 
 And I ask your pardon for what I said yesterday. 
 
 Molly, (rising and crossing to c.) It isn't an 
 easy thing to forgive, being called a traitor to your 
 team. 
 
 Billy, (following her up) I know that. Miss 
 Molly. Why, if any other man had said to you what 
 I said last night, I'd have done a two step on his. 
 solar plexus. This morning I asked Buckley to kick 
 me, but I couldn't tell him why, so he wouldn't. 
 
 Molly, (not turning to him) But, why did you 
 jump at once to the conclusion that I had sent those 
 signals ? 
 
 Billy. Maybe it was because I haven't been think* 
 ing of anyone except you for months. Why, thing*, 
 got so bad that I used to have nightmares and dream 
 about you. (Molly moves a step to the R., laughing 
 quietly) Don't laugh, I really mean it. And unless 
 you forgive me now, I'll do something desperate. 
 
 Molly, (slowly) Well, if you're really very 
 
STBONGHEAET. 89 
 
 sorry, I suppose Fll have to forgive you this time. 
 
 Billy. You will? (extends hit hand) 
 
 Molly. Yesi (turns co him quickly and takes 
 his hand anc, nives it V. strong Jiake causing him co 
 make c grimace of pain) Oh, I forgot your arm. 
 I'm afraid V hurt you. 
 
 Billy, (hopefully) Would you care if you did? 
 
 Molly, (softly) Fm afraid I would. 
 
 Billy, (putting his arm around her) Molly! 
 
 Molly. (putting her arms around his neck) 
 Billy! 
 
 (As they embrace Dick enters l. 1. Slams door. 
 The noise startles Molly, she gives a low scream 
 and exits R. 3, running.) 
 
 Molly. O-O-O-h ! 
 
 (Exits R. 3. Billy looks after her and then turns 
 and sees Dick. Gives a start of surprise and 
 tries to cover his confusion with talk.) 
 
 Billy. Hello, Dick. D — you walk down from col* 
 lege? (Die 77 : does not answer, but walks toward him 
 very quietly. Then Billy picks up paper and shows 
 it to Dick) See your picture in the paper? It's 
 real good. 
 
 warn calcium- 
 Dick;, (taking paper from him) Conic, Billy, 
 
 Fm too old a chum for that. 
 
 Billy. Well then, old man, give us your fin. If* 
 
 al] fixed. 
 
 Dick, (shaking BillyY- left hand) Good. She*! 
 
 One 01 the best little women in the world. (BlLLI 
 
 swells his chest and says " You bet ") And sfoa'a 
 got one of the besl men. 
 
$0 STHOWGHEABT. 
 
 Billy, (turning away, embarrassed) Oh, back 
 up 
 
 Di"K. So she has promised to be your wife? 
 
 Billy. Judas Iscariot! I forgot to ask her. 
 
 (Exits R. Z on the run. Dick watches him amazed, 
 then turns l. as Taylok enters.) 
 
 Taylor, (entering l. 1) Hello, Dick. The team 
 is here. 
 
 CHANGE CALCIUM TO BED. 
 
 Dick. Is Strongheart :ith you? 
 
 Taylor. Yes. (they go dp Aage r>. of table) 
 
 Frank, (bringing on the team ~ . 1) Sit down, 
 boys, (he crosses ,o per u. c. Most f the team 
 are more or less battered. They are ressed with 
 great variety. Some of lein being .veil dressed, 
 others in sweaters. ey go ip to s ats upper L.) 
 
 Billy, (entering r. 3, . ith c broad grin)) 
 Hello, girls ! 
 
 All The Men. Hello, Billy, Howdy. 
 
 Billy, (to Frank) Frank, it's all 0. K. 
 
 Frank. Good boy. 
 
 (Strongheart enters l. 1, as lie get to l. c, Thornb 
 goes down to him and speaks.) 
 
 Thorne. You won't give me away? (Strong 
 crosses Thorne to r.) You see I was right, wasn't 
 I? 
 
 Strong, (on Thorne' s r.) Yes, you were right. 
 (crosses to R. in front of fireplace. Enter l. 1 Boss 
 supported by Nash. Boss leads Siegfried on a leash 
 and is pretty drunk. Nash takes him to R. a, takes 
 of his cap, and then crosses to l. c. and stands talk- 
 ing to Taylor. Taylor goes up stage and crosses 
 to r., and Nash goes to chair below l. 1. Nash 
 limps ad through this act) 
 
STRONGHEAKT. 91 
 
 Ross, (as they enter and cross) I say, B-B-Billy, 
 you forgot your pup. 
 
 Billy. Look here, Ross, I thought I told you to 
 stay in bed. 
 
 Ross. That's so. I must have forgotten it. I was 
 out late last night celebrating victory, and Fve got 
 a little cold. 
 
 Billy. You've been getting in the way of too 
 many " draughts/' all right, (takes dog from Ross) 
 Come on, Siegfried, come to your mistress, (exits 
 R 3, with dog, and returns immediately and crosses 
 io the chair furthest up stage between l. 1 and L. 3. 
 Taylor crosses down to Ross and takes him across 
 'he stage to the seat next to Billy. Taylor takes 
 down stage chair) 
 
 Prank, (standing back of table) Will the team 
 please come to order. (Dick sits l. of table, Thorxei 
 r. Men all get quiet) Boys, this is a very nasty 
 business and the sooner it's over the better. You all 
 xinow what happened yesterday. What we want to 
 iind out to-day is the name of the man who sent 
 those signals to Farley. 
 
 Thorne. Then, first, we must know in whose 
 handwriting the list was. 
 
 Taylor. Strongheart's. 
 
 One of the Men. The Indian's. 
 
 Dick. No, boys. Frank has the list and the 
 writing's mine. 
 
 (Men all give a start and say: "What!") 
 
 Taylor. T don't believe it, Dick. 
 
 Frank. Yes, that's right. Billy recognized it, 
 and so did I. 
 
 Dick, (rising and crossing down i^. 0., facing up 
 stage) Fve tried to think it out, boys. Bu1 I am as 
 much in the dark as you are. The list is mine, and 
 I can't explain how it came into Farley's hands. 
 
 THOBN&i (rising) Boys, in a matter like this, 
 
92 STKONGHEAKT. 
 
 personal' friendship must be sacrificed to justice. If 
 Dick has no explanation to offer, there is only one 
 thing for us to do. 
 
 Dick. I have no explanation. 
 
 SLOWLY CHANGE FOOTS. 
 
 Thoene. Then, you'll have to- 
 
 Steong. (from doivn in front of fire) Thorne! 
 
 Thoene. (crossing down to him quickly) For 
 God's sake, Strongheart, have you forgotten what he 
 said yesterday ? 
 
 Steong. No. But I had almost forgotten how the 
 son of a chief must act. (crosses and hands tele- 
 gram Thoene wrote in 3d act to Feank) There is 
 the proof of Dick's innocence. 
 
 (Tayloe and Billy cross and look at it.) 
 
 Feank. (as Thoene crosses in front of table) 
 What does he mean? 
 
 Steong. He sent Dick's list to Farley. (Thoene 
 stops and turns to Steong) 
 
 All the Men. (rising) What?!? He did? 
 
 Billy, (in front of table c.) And tried to throw 
 the blame on Dick. 
 
 Thoene. You can get the details from the In- 
 dian, (starts to exit l. 1) 
 
 Tayloe. (blocking his way) Hold on, Thorne. 
 You don't leave here until we've settled with you. 
 
 (All Men advance a step threateningly.) 
 
 Steong. Wait, boys. Eemember he can never 
 show his face in college again. No man will take his 
 hand. Let him go. 
 
 {Men step back and Thoene exits slowly l. 1. When 
 he is off all men heave a sigh and go to Dick 
 
STKONGHEAKT. 93 
 
 and shake hands with him. Then move back up 
 stage. Taylor crosses to R., back of table.) 
 
 Billy, (rushing to Dick) Give me your paw, 
 old man. I knew things would come out 0. K. 
 (crosses to a, facing Strong) Strongheart, you're 
 a brick, (turning to team) Boys, this team owes 
 an apology to the man who saved the game by keep- 
 ing Dick in it. 
 
 Taylor, (crossing down to Strong's r.) Sure. 
 Chief, you've made us all feel pretty small. Pm 
 proud you're a Columbia man. (crosses to l., sees 
 Eoss asleep in chair) Hold on, somebody's got to 
 take that jagged freshman home. 
 
 (Men all laugh.) 
 
 Nash, (down l.) It's up to you, Taylor. 
 
 Taylor, (pulling Eoss out of chair. Nash helps) 
 Come on, Fresh. (Nash puts on Boss's cap) 
 
 Boss, (very maudlin) Tell the ladies I regret 
 Very much 
 
 Taylor. Oh, you'll regret it all right, (exit l. 
 1. Men start to follow Taylor off. Frank stops 
 them) 
 
 Frank. Hold on, boys. You've got to have a bite 
 first. Pile in here. 
 
 (Men all exit l. 3, followed by Frank. Billy exits 
 r. 3.) 
 
 Dick, (crossing to Strong r.) Strongheart. 
 
 Strong. Well, Dick. 
 
 Dick. I thank you for what you've just done. T 
 was a cad last night. I ask your pardon for what 
 3 said. 
 
 STRONG. Do you take back all you said, Dick? 
 
 Dick. No, Strongheart, I cannot. Ifs not 
 jealousy. Something stronger than you or 1 has come 
 
94 STKONGHEART. 
 
 between us. You're the finest man I know, but we 
 cannot be friends. Will you take my hand? {offers 
 hand) 
 
 Strong, (sloivly taking his hand) Something 
 stronger than friendship. Yes. Good-bye, Dick. 
 (the two men look into each oth'ers eyes, then Dick 
 turns and exits slowly l. 3. Billy enters r. 3., and 
 watches Dick of) And I thought I was one of 
 them. (Billy crossing down to Strong's l.) 
 
 Billy. What's up between you and the boys ? 
 
 Strong. The knife of prejudice has cut the ties 
 of friendship. 
 
 Billy. Is that straight ? 
 
 Strong. Yes- 
 
 Billy. Then I'm ashamed of my whole damn 
 race, and I'll go and tell 'em so. (exits l. 3, quickly) 
 
 Strong. And one woman's love can wipe out all 
 the injustice. 
 
 Butler, (entering l. 1) There is someone here 
 asking for you, sir. He says he's a messenger from 
 your people. 
 
 Strong. I will see him. 
 
 (Butler exits l. 1. Dorothy enters l. 3 as Butler 
 
 exits.) 
 
 Strong, (seeing her and crossing to c.) I have 
 come for my answer. Look well into your heart and 
 be sure. 
 
 Dorothy, (crossing down to c.) I have looked 
 well, and I am sure. I will go with you. 
 
 Strong. Is it love or pity? 
 
 Dorothy. It is love. 
 
 Strong. Then I can forget everything eke. My 
 life shall be your life. Your people will not take me, 
 then come with me to mine. They will worship you. 
 (door opens l. 1, and Butler enters followed by 
 Black Eagle. Butler exits immediately , closing 
 door. B. E. is an old Indian dressed in the conven- 
 
STBONGEEART. 95 
 
 tijonal blue sack suit and mocassins. His long Mach 
 hair falls under the collar of his flannel shirt* He 
 wears a Mose f red tie, and carries a broad brimmed 
 felt hat in his hand. He stands motionless. Strong 
 sees him and crosses to him. Dorothy moves step 
 to the R. ) Black Eagle ! 
 
 B. E. (raising his hand) Kay-lah-kas-lye, Soan- 
 gataha. 
 
 Strong. .No, no. Speak English. I cannot think 
 in my own tongue. 
 
 B, E. They told me I find you here. I bring 
 message. 
 
 (Dorothy starts to exit r. 3. Strong speaks, and 
 she stops.) 
 
 Strong. Do not go. (she turns back and he turns 
 io B. E.) Speak. 
 
 B. E. No. We no have women in our council. 
 
 Strong, (taking Dorothy to r. 3) Just for a 
 moment, it will satisfy him. (she exits, he crosses 
 backtoB.E.) Well? 
 
 B. E. Old chief, your father, dead. (Strong 
 gives a start and lets his head sink down) You 
 chief! (Strong raises his head and folds his arms) 
 You go with me, see Great Pathei at Washington. 
 Then to our people. 
 
 Strong. I will come, and not alone, (points r. 
 3) Black Eagle, I love her. She will come with 
 me. 
 
 B. E. Is there no woman of our people that you 
 want white woman? 
 
 Strong. This is the woman I love. 
 
 B. E. No. She not one of us. Can she live in 
 our tepees? Can she eat what we eat? Can she 
 share the life of our people? No. She white wo- 
 man. She stay here. 
 
 Strong. But she will help us. 
 
96 STEONGHEABT. 
 
 B. E. No. It not good. She child of white man. 
 Your people not take her* 
 
 Strong. Then they are not my people. If they 
 will not honor the woman I love, I will leave them. 
 (crosses to table in front of chair l.) 
 
 B. E. Where will you go? (extends his arms 
 wide, Strong turns and looks at him and then sinks 
 down in the chair, beaten) You leave them but they 
 always be your people. They sent you to white man 
 to learn his wisdom. 
 
 Strong. And I have only learned to love, (rises) 
 I cannot give up that love! (crosses down r.). 
 
 B. E. (trying to ivork on his sympathy) Winter 
 snow soon be on land of your people. They poor. 
 They cold. 
 
 Strong. Then let them accept her who will help 
 {hem. 
 
 B. E. (his voice full of hate) No. She white. 
 Her people make us suffer. 
 
 Strong. The white men have been false to me, 
 but I thought my own would be true. 
 
 B. E. We true to you when we say no. Children 
 of chief must no x \a — (Strong stops him with a 
 gesture) You come with me. You come alone. 
 
 Strong, (crossing to him, making a last stand) 
 What right have you 
 
 B. E. They poor. But they pay for your wisdom. 
 It belong to them ! 
 
 Strong. Then 
 
 WAKN SONG. 
 
 B. E. You must choose ! 
 
 Strong, (turning to R. 3, after a struggle) My 
 love ! 
 
 B. E. Your people. (Strong turns to him) 
 They crouch over their fires, waiting, waiting. 
 
 (Strong struggles fiercely within himself, crosses 
 
STBONGHEAET. 97 
 
 down R. and finally turns to B. E. and points 
 to the door.) 
 
 Strong. Go ! I will come ! 
 
 (Black Eagle draws himself up and exits l. 1, 
 slowly. Dorothy enters R. 3 as B E. exits. She 
 comes down on Strong's l. and stands looking 
 . at him. He raises his head.) 
 
 Dorothy. I have heard. 
 
 (Off stage " Amid " starts as in act 1.) 
 
 SONG. 
 
 Strong. Then you realize what it means? My 
 eyes have been blind to all but love. I saw only the 
 sunshine, thought only of happiness. I forgot the 
 winter's cold, the squalid misery of my tribe. I could 
 not take you to that, forgive me for asking you, I 
 had no right to think of love, (she makes a move 
 towards him) I have been drea_ ! ing a beautiful 
 dream, but I am awake at last. 
 
 WARN CURTAIN. 
 
 Dorothy. Whatever your life may be, let me 
 share it, for I love you. 
 
 Strong. And I love you too much to take you 
 from your people and lead you to the hardships of 
 mine. 
 
 Dorothy. You have made me love you. You 
 cannot leave me now. You cannot. 
 
 Strong. Oh, that my life were mine to give you. 
 
 Dorothy. I give you mine. Take it. 
 
 Strong. I must keep faith with them. 
 
 Dorothy. (turning and sinking in chair R. of 
 table) Oh, I need you more than they. 
 
98 STEONGHEAET. 
 
 Strong, (crossing to her) Out of their poverty, 
 their need, they have educated me to be their chief. 
 No one can take my place. My life belongs to them 
 and they demand it. I must go back to them. I 
 must go alone. 
 
 Dorothy, (slowly) And I can only help you 
 by giving you to them? 
 
 Strong. Yes. Honor demands it. 
 
 Dorothy, (rising slowly and moving to c, of 
 table. She speaks with firmness) Then, go to them. 
 You must do your life work alone. But always re- 
 member (crosses to him) I love you, I love you. 
 
 Strong. And I, ah, if I told you how I love you, 
 I would not have the strength to give you up. 
 
 Dorothy, (up to him) Strongheart! 
 
 Strong. Oh, my love, my love, go to them while 
 I have the courage to do what is right. It is the law 
 of peaces. 
 
 Dorothy. It is a cruel law. 
 
 Strong. Good-bye. (she turns slowly toward l. 
 and starts to go. He holds her hand as far as he can 
 reach, and as she gets by the table she gives a deep, 
 heart-breaking sob, and then controlling herself goes 
 up to l. 3. As she reaches it he says) Good-bye my . 
 love, (she exits l. 3, sobbing) 
 
 Strong. (c. turning in front and raising his 
 arms and face upwards) Oh, great spirit of my 
 fathers, I call to you for help, for I am in the midst 
 of a great desert, alone. 
 
 CUETAIN. 
 
JUST PUBLISHED 
 
 Nothing But the Truth 
 
 A Farcical Comedy in Three Acts 
 
 j 
 
 By 
 
 ames Montgomery 
 Cast of Characters 
 
 Bob Bennett 
 
 B. M. Ralston 
 
 Clarence Van Dusen 
 
 Bishop Doran 
 
 Dick Donnelly 
 
 Gwen 
 
 Mrs. Ralston 
 
 Ethel 
 
 Mable 
 
 Sable 
 
 Martha 
 
 SCENES 
 
 ACT 1. A Broker's Office 
 
 ACT 2. Pailor of a Country Home 
 
 ACT 3 " 
 
 TIME: The Present 
 
 "Nothing" But the Truth" is built upon the simple idea 
 of its hero speaking- nothing but the absolute truth for a 
 stated period. He bets a friend ten thousand dollars 
 that he can do it, and boldly tackles truth to win the 
 money. For a very short time the task is placidly easy, 
 but Truth routs out old man Trouble and then things be- 
 g-in to happen. Trouble doesn't seem very large and 
 aggressive when he first pokes his nose into the noble 
 resolve of our hero, but he grows rapidly and soon we 
 see our dealer in truth disrupting the domestic relations 
 of his partner. In fact, Trouble works overtime, and 
 reputations that have been unblemished are smirched. 
 Situations that are absurd and complications almost 
 knotted, pile up, all credited to Truth, and the result of 
 the wager to foster and cherish that great virtue from 
 the lips of the man who has espoused the cause of truth 
 to win a wager. 
 
 It is a novel idea and so well has it been worked out 
 that an audience is kept in throes of laughter at the 
 seemingly impossible task to untangle snarls into which 
 our hero has involved all those he comes into contact 
 with. It is a clean bright farce of well drawn characters 
 and was built for laughing purposes only. 
 
 William Collier played "Nothing But the Truth" for a 
 year at the Longacre Theatre, New York, and it has been 
 on tour for over two seasons. 
 
 After three years continuous success on the profess- 
 ional stage we are now offering "Nothing But the Truth" 
 for amateur production. It is one of the funniest and 
 brightest farces ever written, and it Is admirably suited 
 to amateur production. 
 
 Prick 6o Cents 
 
LRBMr'26