Stage Crew: Pre-place
the study desk and chair, front of curtain, off to the far left side. Right side of stage contains a raised area
(RA) that runs at an angle from just behind the curtain to a few feet from the
projection screen and marking curtains.
The RA has a set of steps leading up to it. The RA can have the foundation blocks for Nauvoo pre-set.
Downstage right behind the closed curtain set up house
flats near RA, suggesting home of John Horner’s Parents. There should be a window and an opening in
another flat for an entry. No door
necessary. This house is standing just left of the raised area. The house would contain a small table with
table cloth covering, a few chairs by it.
Perhaps a few other homey touches.
Close to the house, place wash tub for washing hands.
Near the Upstage left edge of RA, place pile of bricks
and cover with black fabric or with brown gunny sack like material.
Sound: Overture (Song 1) is played to quiet the
audience.
Priesthood
Leader: Welcomes audience and announces
opening prayer.
AV
1: University History Class, California
Scene I: Lights are dim as sound of soft chatter is
heard from students seated in a college
classroom. This can be depicted with a few
chairs or simple wood benches, set on apron stage right, leaving the center for
the library part of the scene. The clothing indicates that this time period is
now. University in California.
Off to one side is a
single study table (desk) and a desk chair. Hanging on the back of the chair is
an old-fashioned frontier shirt. On the
floor by the chair is a farmer’s style straw hat.
Sound: bell ringing chimes the hour.
Lights come up fully on classroom
Professor: (an elderly man with a droll sense of humor, a
rather comical yet
endearing sort of character, looks at pocket watch) Your attention, please. This
is Advanced Writing Class where famous authors are trained. Anyone here want
to be a famous author?
|
All |
Student: I do! |
Professor: Anyone here want to write the story of the century?
|
All |
Student: Yes! |
Professor: Good! That's exactly your assignment. Find the story of something that
changed our country—something not generally known to the public. You've got many years of history to work from. So there is no shortage of material. You have the rest of the year to write your project, so there's no shortage of time. Furthermore, this will be your ONLY graded assignment. So, do it well.
Students: (react with
worry)
Student: (rises) Professor, how many pages must it be?
Professor: The number of pages does not matter. Only how well told.
Student: Can we team up?
Professor: If you find a topic that allows each team member to contribute something
significant, yes.
Student: But Professor, how could any little-known event have historical importance? Does such a thing exist?
Professor: That’s the point. It will get you away from your computers and teach you to
do real research. In fact, you’ll get extra credit if you find original sources.
Student: (to another student) Sounds impossible.
Professor: Investigate. Ask questions. Read! There's a story out there. You'll find
it. Now off with you. Take the rest of the hour to search out a subject. I expect to have your project proposal in two weeks. (He folds up his papers preparing to exit)
Student: Two weeks! But, professor!
Professor: (gives them a Mona Lisa smile as he leaves) (1:35)
Animated
music begins…Song
2: Important Things of Life
(1:18)
Students are leaving their classroom,
heading for the library.
Students: WE NEED AN IDEE FOR A STORY.
WE NEED TO FIND SOMETHING QUICK.
WRITING OUR HISTORY? THAT IS THE MYSTERY.
David Boyd: IF I JUST HAD A CLUE WHAT TO PICK
Librarian: (librarian,
enters pushing a cart loaded with books,
students grab a volume.)
Lights follow action to library by dimming on
apron right and coming brighter on center
and
left.
Students: SO LET'S CHECK SOME BOOKS OUT AT THE LIBR'RY
SURELY THERE'S SOMETHING THERE WE CAN USE.
THE STORY OF THE CENTURY, DON'T KNOW IT YET,
BUT THERE'S A LOT OF BOOKS TO PERUSE.
Students divisi: HERE IS A BOOK ABOUT THE GOLD RUSH (RAILROAD)
CHANGED EVERY THING IN THE STATE (THE RAILROAD IS THE KEY)
BUT LOOK OUT IN THE BAY, BOATS COMING EVERY DAY
SHIPPING'S THE ANSWER WE'RE HERE TO SAY
(I THINK YOU'VE GOT A POINT THERE)
WE HAVE AN IDEE FOR A STORY.
IT IS THE ANSWER WE TRULY FEEL,
YES, WE HAVE A STORY NOW, THIS WE UNDERSTAND.
THE RAILROAD, THE GOLD RUSH, THE SHIPPING, THE WINE CRUSH
THE STORY OF THE CENTURY IS RIGHT IN OUR….
Librarian: Students!
This is a library. (She stamps each book to the rhythm and as
she turns to leave, the students form the expected but forbidden stage picture)
Students: --HANDS!!
Librarian: (turns, and with hands on hips gives them a
scolding look)
Students: (all huddle at the edge of the stage right,
looking through their books except
one—David
Boyd who has no book and no idea.)
Lights dim on classroom, up on center apron where
librarian is speaking to David.
Students: As
lights dim, all but three students exit carrying out the benches, leaving just
one
bench closest to center stage. Student
1(Elizabeth) Student 2 (Isaac
Goodwin) Student 3: (Will II) remain. Isaac and Elizabeth are chatting quietly. Will II is sitting on the remaining bench
looking at his book.
David: (looks at her quizzically) I wish somebody could.
David: (discouraged) Yeah. I’m supposed to find some little known historical event
that somehow changed our whole country.
Librarian: Well, the whole country is hard to write about. Why don’t you focus on the
West. I saw several students with books on the Gold Rush.
David: The Gold Rush is hardly an unknown event.
Librarian: Let me see if I can help. (thinking) Something that… (another
possibility
occurs to her) Or …someone that….. Hmmm. (turns to him) What about
pioneers?
David: (not very excited about that) Covered wagons? What’s unique about covered
wagons?
Librarian: Who said anything about covered wagons? I’m speaking of a particular
pioneer. Come over here. (begins to move to the side or wherever table
and stack
of papers and books from first part of scene were placed)
David: (folds his
arms skeptically, rolls his eyes at her suggestion, but follows
reluctantly)
Librarian: Believe me…, This pioneer accomplished a lot
of things. she digs out a manuscript
as she speaks) Ah, here it is. (pointing out various passages as she
speaks)
David: (reading over her shoulder)
Students playing Isaac Goodwin, Elizabeth. (come over to listen)
Librarian: He built the first school in the East Bay (hands him the paper).
David: (not very impressed) A school?
Student (M. Woodward): (takes the copy and peruses it)
Librarian: Founded several towns.
Student (Will II): (notices the gathering and comes to join in)
Students: (remaining students gather around)
David: (nods, a little more impressed, as he takes those
papers)
Librarian: (hands papers as she names these accomplishments) Started the ferry system.
(indicating out the window) Built these roads. (sees that David’s not won over
yet)
Students: (In
contrast, the other students take what they can get, go off to the side to
Discuss the new ideas.)
Librarian : (continuing)
Became one of the richest men in the history of our state. (as
she hands him a rather thick pile of additional papers ) Well…. what do you
think?
David: (now impressed, reads from one of the sheets) John Meirs Horner, huh?
(flips thru the papers, becomes convinced that this is his topic) Yes. I like it!
Librarian: Perhaps I should warn you, it won't be easy-- getting his story. It’s been
buried by time.
David: Well, a good reporter has to be a good investigator, right? I’ll get his story.
Just watch me! (Holds out the manuscript and as she stamps it, she sings...)
(1:45)
SONG 3: LIBRARY REPRISE (picking up melody from before)
Sheet Music
Librarian: (sung with mock quiet for library mood)
YOU'VE GOT AN IDEE FOR A STORY.
I THINK THE TOPIC IS RIGHT.
YOU'LL DO SOME TRAVELING, THE MYST'RY UNRAVELING.
David: I COULD BE LEAVING THIS VERY NIGHT...
Librarian: SO, LOAD UP YOUR SUITCASE WITH SOME PAPER
PACK IN AN INKWELL OR TWO.
David: OR TWO
Librarian: PREPARE SOME GOOD QUESTIONS ABOUT WHY HE CAME.
David: AND WHY CALIFORNIA'S NO LONGER THE SAME.
Librarian: HOW WILL YOU DESCRIBE HIM, A MAN OF SUCH FAME?
David: WAS HE TALL, SHORT, OR STOCKY?
Librarian: WHAT COLOR, HIS EYES?
David: WAS HE CLEVER
Librarian: OR LONELY
David: COURAGEOUS
Librarian: OR WISE?
David: WAS HE HANDSOME
Librarian: OR TOUGH?
David: THIS HAS GOT TO BE GOOD STUFF!
Librarian: HE WAS WORTHY OF HONOR
A REAL FOUNDING FATHER
T'WILL BE LAUDABLE TO HEAR--
David (joins in) -- ABOUT A FINE
(He interrupts her. ) Shh! This is a library!
(They look at each other and grin)
Both: PIONEER!
(1:04)
Librarian: (pushes cart toward the desk David will use, leaves it there and exits).
The group of students rush back to David.
Student 1: (Isaac) I like that topic.
Student 2: (M. Woodward) Me, too!
Student 3: (Will II) Can we team up? From what I heard, John Horner did so many
things for California we could each focus on one aspect.
David: Well, I’ll research his background ---he didn’t become such a huge success
by magic.
Student 2 (Woodward): I’ll look at sociology. How groups of people interacted with
events surrounding Mr. Horner’s life.
Student 1: (Isaac) I want to know how he got to California—transportation’s my focus.
Student 3: (Wm II) I’ll take the business
aspects.
Student 1 (Isaac): We each have
a topic. This will work.
David: I agree. Let’s meet here in a week and see if there’s
enough
material for
all of us.
Students all: (make
a pact by group handshake.) This…
is going to be good. (they
exit— one can say, see you later, David. All but David exit taking last bench out. )
Lights fade to dim, allowing actor to cross to desk. Once David is seated with a book, bring lights up on him.) (:50)
Scene 2: New
Jersey Farm
Stage Crew: Remove
any remainders of school scene as David finishes his dialogue
below..
David: (sitting
on a bench or chair with his papers, reading.
An old shirt and hat are
draped across the back of the chair) Well, I’ve read through all
the material I could find on John Horner’s early life. I’ve absorbed every little
detail. (rising, shaking his head in wonder)
Stage Crew: Curtain
quietly begins to open.
He’s become--almost a part of me. (stands, reaches for shirt) I think he
might have worn a home-spun
shirt. (begins to become John by
changing
clothes). Maybe had a hat to keep off the sun. (Picks it up)
AV 2 New
Jersey Landscape, early morning
Lights down center begin to glow. Lights fade out on David’s study area. On the opposite side of the stage is the
Horner’s Sitting room—not yet lit.
David: (hat in hand, crosses into light on stage as curtain opens.) It’s easy to imagine
what it was like to live on that farm, walk through the fields and dream of the
future. (:25)
AND IN THE HEAVENS, ONE LAST STAR LINGERS ON.
IS IT MY GUIDING STAR[1], CALLING ME FROM AFAR?
WHY WAS I BORN? HOW WILL I FIND
A PURPOSE ON THE EARTH? A PEACE OF MIND.
WHAT DIFFERENCE WILL IT MAKE IF I LIVE OR I DIE?
DO I MATTER AT ALL TO THAT WIDE BLUE SKY?
I SEARCH AROUND ME EVERYWHERE.
I WALK THROUGH THE FIELDS AND I FEEL THE AIR.
I STOP AND I LISTEN, BUT NO ONE’S THERE.
WHAT AM I? WHO WILL SAY?
WILL I FIND THE ANSWER SOMEDAY?
WHY WAS I BORN? HOW WILL I FIND
A PURPOSE ON THE EARTH? A PEACE OF MIND?
WHAT DIFFERENCE DOES IT MAKE IF I’M FALSE OR I’M TRUE?
DOES ANYONE CARE WHAT I CHOOSE TO DO?
WHO, THEN, WILL SHOW ME THE PATH I SHOULD GO?
WHY AM I HERE? I LONG TO KNOW! (2:47)
Sound: Spoken
over intro to next song:
Father: (enters carrying a rail for the fence on one
shoulder and a spading fork in his
hand) John, William, no dawdling. We must finish the fencing today.
John: Sorry, Father! (races to back of house to get some fence sections)
Mother and other children: enter, each carrying a rail for the fence.
Lights: may
need to widen to cover center stage left.
Song 5: New Jersey Morning (excerpt) Sheet Music
As the song is sung, family puts the small sections of fence into a zigzag.
FATHER: NEW RAIL FENCE. THAT IS HOW
TO SAVE OUR CORN FROM THE COW.
IF YOU WORK UNTIL YOU’RE BEAT
YOU’LL ALWAYS HAVE ENOUGH TO EAT,
LIVIN’ LIFE UPON THE LAND.
(family
sets pieces of the fence into position)
ALL: LIFT AND CARRY, LAY THEM STRAIGHT,
ALL THE WAY TO THE BARNYARD GATE.
LIFT AND SET THE NOTCH IN PLACE,
THEN DRIVE THE CORNER BRACE.
MOTHER: WHEN THE PLANTING WORK IS DONE
YOUR SCHOOLING WILL HAVE BEGUN.
BY YOUR EFFORT YOU’LL ACHIEVE
ANY DREAM YOU CAN CONCEIVE,
LIVIN’ LIFE UPON THE LAND
ALL: STUDY HARD WHAT YOU’VE BEEN TAUGHT,
WHAT’S INSIDE IS WHAT YOU’VE GOT.
USE YOUR MIND, JUST SIMPLY TRY, AND
YOU’LL BE SMARTER BY AND BY.
JOHN: I’LL RUN FASTER.
SIBLINGS: I’LL RUN FASTER.
JOHN: I’LL JUMP FARTHER.
SIBLINGS: I’LL JUMP FAR.
JOHN: I’LL DIG DEEPER.
SIBLINGS: I’LL DIG DEEPER.
JOHN. I’LL WORK HARDER.
SIBLINGS: I’LL WORK HARD.
JOHN: WITH THIS KNOW-HOW, IT WOULD SEEM,
I COULD DO MOST ANYTHING!
ALL: WITH THIS KNOW-HOW, IT WOULD SEEM THAT
WE COULD DO MOST ANYTHING![2] (1:15)
Mother and children: (return to house, stage right)
John: Father, why don’t we use these corners to plant?
Father: Can’t get the horse with a plow in there.
John: I was thinking,
if you’d let Will and I plant potatoes there, (John points to
William) we could make some money.
Father: Do you realize how hard it is to turn soil by hand?
John & William (Nod, making an uh-huh sound).
Father: (dubious) All right, (looks them in the eye) just as long as your regular chores
don’t suffer! (Hands the shovel to John and exits)
John & William (celebrate, ad lib, “Our first business” The Horner Brothers Potato
Farm, I like that! (pantomime turning the soil and planting
potatoes. William
starts digging; John leans on his shovel, dreaming of a bright future.
John: If we work every day after chores are done, we’ll get the soil turned and we can
plant. .
William: So quit talking and get busy.
Elizabeth Imlay and young Hickman: (enter, cross to fence to watch) Hi John, Will.
Both boys: Hello (not paying any attention to her).
Elizabeth: What are you two doing?
John: Getting ready to plant potatoes. Father will let us use these corners and keep the
proceeds for ourselves.
Will: We’re going to be rich!
Hickman: The day dirt turns to gold, Tater Head! Come on, Elizabeth. I want to show you the new bank my father just opened. Plenty of real money there. I won’t
have to wait for it to sprout. (laughs, pulls a reluctant Elizabeth along with him,
they exit).
Will: Hickman turns my stomach.
John: Pay him no
mind. (John, however, is watching
their departure, before turning a
few more clumps of dirt
over; sighs from fatigue as they
finish; surveys their
work) Not bad. That’s one corner done. Come on, Will. Let’s go tell the family!
William: (throwing his shovel over his shoulder) I’ll race you! (1:30)
John and William: (run across stage toward their “house”, laughing as they go).
Lights: down on fence area, up on Horner Interior and closely surrounding area.
The brothers lay their tools down behind the house on the
“pile of bricks”, pretend to wash their hands with “water” from bucket. John peers through the window. Chatter to each other as you do so.)
John: (stops, seeing someone with the family) Shh! William, there’s company in the
sitting room.
William: (shaking the water from his hands, peers into room, too) A stranger. Never
seen him before.
John: (still at window). I wonder what he wants
Scene
3: Inside Horner’s Home
Father Horner: And this is the book you read (pronounce this like red)?
Erastus Snow: Yes, I got a copy just after it was published. Reading it changed my
whole life. That’s why I’m going from town to town. (excited) I want everyone
to know about this amazing book!
Father Horner: (turns to the cover) The Book of Mormon. Never heard of it.
And you say it changed your
life? (Hands it to Mrs. Horner to
look over,
she returns it to Erastus.
Erastus: It did. Especially this part right here (point to the page) the book promises -- if
you read it, then pray about it, you’ll find out it’s true. (1:00)
(Erastus)
IF YOU WOULD ASK THE FATHER WITH REAL INTENT,
TO KNOW IF THESE WORDS ARE TRUE,
IF YOU HAVE FAITH IN CHRIST,
HE WILL MANIFEST THE TRUTH UNTO YOU.
John: steps further into the room.
Erastus: (turns his attention to John, nods a greeting, continues to sing)
AND WHEN I READ THIS PROMISE, MY HEART DID BURN TO KNOW,
“HOW CAN IT BE
THAT GOD WOULD SPEAK TO SOMEONE AS SIMPLE AS ME?
HOW CAN IT BE THAT THERE ARE MORE SHEEP TO FEED?
HE CAME TO THIS EARTH, WHAT MORE DO WE NEED?
OH, HOW CAN IT BE? HOW CAN I SEE?
Erastus: (handing the book to John, pointing to a passage in the book).
YET THESE WORDS, THEY MOVE ME SO.
OH, GOD IN HEAVEN, I NEED TO KNOW!”[3]
THEN HE ANSWERED. WHO'D HAVE KNOWN.
IN MY STILLNESS, I'M NOT ALONE.
GOD IS SPEAKING. HE IS CALLING FROM ON HIGH
TO HIS CHILDREN. HE IS ANSWERING OUR CRY
BY CALLING FORTH A PROPHET ONCE AGAIN…ON THE EARTH.
AND HIS VOICE RINGS TRUE AND CLEAR
WITH THIS MESSAGE, “GOD IS NEAR.”
DO YOU UNDERSTAND?
HE'S STRETCHING FORTH
HIS HAND.
AND HE TOUCHED ME
WITH HIS LOVE
THROUGH HIS SPIRIT
THAT HE SENT ME FROM ABOVE
IF YOU ASK HIM.
IF YOU FALL UPON YOUR KNEES,
HE WILL TELL YOU.
HE WILL MANIFEST THE TRUTH UNTO THEE.
ASK AND SEE.[4] (2:50)
Erastus (wait, in case there is applause, reaches out his hand to John): Erastus
Snow.
Mrs. Horner: (Introducing John to Erastus) Our son, John.
John: (Shakes Erastus’s hand, then holding up book asks) May I…?
Erastus: (smiling encouragement) By all means. It’s yours.
John: (surprised) Why--- thanks! (exits, thumbing through the book, walks to center
edge of apron where he sits down to check out the book)
(:15)
Lights fade on house as lights come up on apron center.
Horner parents, Erastus (continue conversation as light dims on house, then exit, taking your chairs with you when light is off).
Stage Crew: curtain closes slowly
Scene
4: Outside near the home
John: (Change position like you’ve been reading a long time.)
|
Lights: When curtain is shut, turn work lights on for stage crew.
cloth, take table to left center. Remove shovel, fork, water bucket,
take cover off bricks. Set up some boxes on RA to add more to wall
and foundation of building.
Right center is a rough wooden worktable with
construction plans open. (Joseph and
Woodward will be studying them as
curtain opens in next scene) |
On Apron
John: (is seen reading)
Elizabeth: (enters, sees John, says coyly) Hello John.
John: (not looking up) Hello.
Elizabeth: (circles behind him, looks over his shoulder) What’s so engrossing?
John: (still not looking up) hmm?
Elizabeth: (hands on
hips, daunted by the lack of attention, moves around to study him,
then not getting anything from him, abruptly snatches the book away).
John: (jumps up, going after her) Give that back!
Elizabeth: (holding it out of reach) Why should I?
John: Because it’s not yours.
Elizabeth: It’s not yours either, so there.
John: I’ll thank you for minding your own business.
Elizabeth: That’s what I’m doing. You haven’t spoken to anyone for days.
John: So?
John: I’ve been busy. Our crops. All that.
Elizabeth:
Potatoes--or this? (Holds it out; He tries to get it. She puts it behind her back).
John: Fine, if you want to be that way, keep it. (He starts heading away)
Elizabeth: (obviously frustrated) Wait, wait John. I didn’t mean--
John: Yes you did. (slowing to wait for her)
Elizabeth: (running to catch up with him) No, I didn’t. Here, you can have your old book.
John: It’s not old! (he takes the book, miffed)
Elizabeth: Let’s not fight.
John: (still perturbed) You started it.
Elizabeth: And so I did, I admit it.
John: (surprised, maybe a little pleased) You do?
Elizabeth: I do. Now tell me, what is so important in this book?
John: (he doesn’t answer, not trusting her) Well…(stops)
Elizabeth: (cut in quickly) You can tell me. Go on, I really want to know.
John: I—I …uh (shakes
his head; can’t find the words)
Elizabeth: I have an idea. You could come over for supper
tonight--and tell us about your new book.
John: (looks surprised, pleased, like he’d die to come, but…sighs) Can’t. Promised to
help my father after supper. But Elizabeth, you’re right. This book. -- I wish I
could find the words.
Elizabeth: (sits as if she won't budge until he shares his heart) I’m listening.
John: I started reading it and can’t put it down.
Elizabeth: That-- is obvious.
Music: (Start
intro)
John: (ignoring her teasing) Seriously, Elizabeth, it’s hard to explain. (1:40)
Song 7: God’s Spirit (song and dialogue, duet) - sheet music
John:
YOU KNOW, I HAVE SO MANY DREAMS, AMBITIONS OF WHAT WILL BE,
BUT ALL MY HOPES ARE SHADOWS THAT I CAN’T CLEARLY SEE.
HERE IN THE PAGES OF THIS BOOK
I FOUND A YOUNG MAN LIKE ME.
WITHOUT CONNECTION,
SEEKING DIRECTION,
WONDERING WHAT HE COULD BE.
(referring to the Book he is holding, John continues)
GOD’S SPIRIT WHISPERED THROUGH THE WORDS,
“YOU’RE MY SON. COME TO ME.”
HE HAS A PLAN FOR EVERYONE, A WAY TO FIND WHAT YOU CAN BE.
NOW I KNOW THAT GOD IS REAL, LIKE YOU AND ME.
I FELT HIS LOVE, YOU SEE.[5]
Music continues
under….
Elizabeth: So you believe this book is from God?
John: Yes, I do.
Elizabeth: But that’s not possible. God put all his words in the Bible
John: With God, nothing’s impossible. Doesn’t it make sense that God would speak to
his people wherever they are.
Elizabeth: Well, yes…but…
John: And if he did speak to other people, wouldn’t they write it down?
Elizabeth: But how do you know that this is such a book?
John: By what I feel when I read it..
(John)
GOD’S SPIRIT WHISPERED THROUGH THESE WORDS,
BRINGING CALM TO MY SOUL.
HE HAS A PLAN FOR EVERYONE, A WAY TO REACH EVERY GOAL.
NOW MY HEART FEELS SOMETHING BRIGHT FROM HEAVEN’S HEIGHT,
AND I CAN FEEL GOD’S LIGHT.
(Elizabeth)
THIS NEW WORD OF GOD, COULD IT BE THAT IT’S TRUE?
MY MIND DOESN’T KNOW, WHAT TO THINK, WHAT TO DO.
YET MY HEART FEELS SOMETHING BRIGHT FROM HEAVEN’S HEIGHT,
AND I CAN FEEL GOD’S LIGHT. (2:49)
John: You know, Elizabeth. Someday I’m going to go all the way to Nauvoo and meet
the man who translated this ancient record.
Lights: Turn off work lights as soon as set is ready and dancers are in place.
Elizabeth: Nauvoo? What’s that?
John: A city-- being built on the bluffs of the Mississippi River. That’s where I’ll
find Joseph Smith.
John and Elizabeth (exit front of curtain, still chatting happily) (:20)
John: (remove your student shirt. Wear your pioneer shirt only into next scene.)
Lights: (fade out on apron)
AV3. Nauvoo Landscape
Stage Crew: Open
Curtain
Lights up on Nauvoo scene (full stage)
Scene 5: Nauvoo
The Nauvoo scene created by small, portable set pieces
giving the suggestion of buildings in the process of being built. The dancers are workers and residents of this
great new city.
One wall would be partially started in brick on RA. The dancers will be placing fake bricks there using a peg into a hole type construction. Other people will hammer, saw, bring food to the workers, run errands, carry mortar, any number of construction activities that can be done in dance style. The scene can include people of all ages. Through creative set design with small sections that fit together, one could watch a part of the city being constructed.
Song 8: Nauvoo Dance (2:16)
Total Nauvoo Scene (8:16)
Nauvoo Street. Music in imitation of hammering, tapping, fitting, setting, all
the sounds of building a city builds up in the background. People of the city are busy, busy, busy. When dance ends, John enters, a bag of
belongings over one shoulder, his Book of Mormon in hand. Erastus Snow sees him coming[6].
Erastus: John Horner? (greets him warmly)
What are you doing here?
John: Looking for the Prophet, Joseph. I came to meet him.
Erastus: (ad
lib, revisiting their friendship as they look for Joseph) From New Jersey?
Joseph: (is looking over construction plans on the work table, L center.)
Erastus: Joseph, this is my friend John Horner. He walked from New Jersey to meet
you.
Lights soften
on remainder of stage, stay bright on area L Center
Joseph: New Jersey? You’ve come a long way for a handshake. When did you
arrive?
John: Just now.
Joseph: Then sit down and rest your feet.
John: Think I
will. Thanks! (as he says this John sits
down, removes his shoes, and we
see
that the soles of his shoes are worn)
Prophet: Are you planning to stay long?
John: As long as it
takes to earn myself another pair of boots.
You see, (We can see his
fingers through the bottom of his shoe.) my sole is in a sorry state.
Prophet: Don’t worry. Saving souls is something we do around here.
(takes
the boots and holds them out. Sister
Woodward comes by and takes them.)
John: I was hoping to ask you ---. What do you think a young man like me ought to
know to succeed in life?
Joseph: Do you know that your Heavenly Father loves you?
John: Oh, yes, very much.
Joseph: Do you know that he wants you to return to Him?
John: Yes.
Joseph: That (meaning in heaven) is the only place of real happiness. Finding that
happiness is to succeed--here on earth, and in heaven. (1:10)
Lights: dim lights in periphery, keep strong on Joseph and John
(place a few people from the construction of Nauvoo to listen to the prophet sing)
(Joseph)
UPON THIS EARTH, SO I HAVE FOUND,
THERE’S CONSTANT NOISE, DROWNS OUT THE SOUND
OF GOD’S OWN VOICE, SO SMALL AND STILL.
YET THERE’S A CHOICE TO SEEK HIS WILL.
CLEAR OUT YOUR HEART. CLEAR OUT YOUR MIND,
AND THEN YOU’LL START
TO HEAR THE STILL, SMALL VOICE AND YOU WILL FIND
YOUR LOVE FOR GOD WILL START TO GROW.
YOU’LL LOVE HIS WAYS. YOU’LL LOVE HIM SO!
A WARMTH AND CALM WILL FILL YOUR THOUGHT
AS BY HIS SPIRIT YOU ARE TAUGHT.
SO FOLLOW CHRIST, THE PATH HE TROD,
TO FIND GOD’S LOVE. YOU MUST BE STILL.
BE STILL AND KNOW THAT HE IS GOD.[7]
(1:58)
Joseph: Listen to the spirit and follow it. This is how to succeed in life.
It’s not always easy. Often we must chose between honorable goals[8]. My son, do
not let the enticements of the world distract you.
(clapping the young man on the shoulder, looking deeply into his eyes) John, the
measure of a man is not found in
riches, but in his heart. (He
gestures to the Book in John’s hand, encouraging him.) (:30)
John: (Looks at
his book, deep in though. Opens it,
reads a few words, then looks up as if pondering what he read).
ALLELUIA, ALLELUIA! BE STILL AND KNOW. BE STILL AND KNOW.
BE STILL AND KNOW—GOD LOVES YOU SO! (2:30)
John: (exit in dark) Put on a button-up the front modern shirt over your pioneer shirt.
Lights: Fade out on Nauvoo. Up on student/desk area and center of apron.
Stage Crew: Close curtain.
Lights: work lights on
Stage Hands: Clear Nauvoo scene. Set
up Rail fence of Horner Farm in same place it was in first scene. Set table, covered with table cloth on
RA. No chairs. Set out some tea cups. Need some type of pitcher or punch bowl for
the table.
Scene
6: At the Library (on apron)
Lights: slowly up on center apron and SL platform of apron
David: (enters from side, Pioneer hat in hand. Sits at desk, writing notes..)
Student 2 (WW): (wearing loose fitting casual clothes, hat to cover her pinned up period
hair style, enters from SR) Hi David. How’s it going?
David: Fine so far. Uh, what was it you’re working on?
Student 2: Social interactions—how interactions with others impacted his business
endeavors.
Students (Isaac, Will II): (enter)
Student Isaac: There you are.
Student Will II: Sorry we’re late. Everything going OK?
David: (stands as if to leave) I’ve got a little more digging to do. And you?
Student 2: My topic’s harder than I thought. Hard to find what I’m looking for.
Student Isaac: Sociology? Glad it’s your topic not mine.
Student 2: It’s a tough one alright. Maybe I should pick surviving frontier life. Might be
easier. Hope you guys you don’t mind, but I need to get busy. Maybe browse
through the next shelves and see if
something useful turns up. See
you! (exits
L, hurries into costume.
Professor: (enters
from audience, acts like he’s heading into library)
Student Isaac: (to the others). Hey, here comes the professor. I think we ought to check
with him before we invest more time—in case he doesn’t approve of our team.
Student Will: Good idea.
Student Isaac: (moves downstage to him) Good afternoon, Professor.
Professor: Well…students…(looking around at the building they’re in) At the library?
That’s a good sign. Working on your proposals?
Student (Will): Yes, but before we commit to a topic can we discuss what we’ve planned
so far? You see, we’ve formed a team.
Professor: And what topic are you researching?
Student Will: John Horner, his life and contribution to California.
Professor: (shaking his head) Sorry, gentleman, but I’ve never heard of him. You’re
supposed to find something that impacted the country—an important change.
Student Isaac: Professor, I recall you saying we had to find a little known historical
event. Since you haven’t heard of Mr. Horner. That makes it little known.
Professor: Little known is only part of the assignment. The other is to find something
significant.
Student Will: Oh, his life is definitely significant—to California.
Professor: Well, I have my doubts. Sorry I can’t take longer. I’ve got to get to some
material before my next class.
Student Isaac: If you don’t mind, well tag along and tell you more about Mr. Horner.
Student Will: We’re
sure you’re going to be impressed.
Later, David! (give him a
thumbs up)
Professor, students (exit right):
Student Isaac: (put your pioneer shirt on, pull a modern, button up the front shirt over it)
David: The professor is going to be hard to convince. I’d better make sure I have
enough material. (Opens another book off the stack, opens it and begins reading.)
Hmmm…Says here John visited Nauvoo several summers, helping build the city,
working as a brick mason? (surprised) Huh! But each fall he returned to New
Jersey.
Stage Crew: Open curtain (no lights yet)
David (continues) Hmm---Now…why did he come back? (pick up hat, plops it
back on his head) I should look into that. (Removes his button- up shirt so we see
his pioneer shirt and exits into the wings where he leaves the modern shirt).
(2:20)
Scene
7: New Jersey Field
Lights: up on fence area stage left center, out on student at desk No light on right.
AV4. New Jersey, planted farm
Will (Young): (bent over, looking at the potato tops).
Grown-up John: (As
if returning from Nauvoo runs into Will)
Wm: (giving him a big hug) John! Back at last and none too soon.
We’ve got potatoes to dig out. Quite a crop this fall.
John: Great! I’ll need that crop. Intend to sell my share and return to Nauvoo.
Wm: We can talk later. I’ll run to tell the folks you’re back.
John: But the potatoes?
Wm: (gestures to Elizabeth who is entering from left). Later, John.
John: (turns to find Elizabeth entering from Left)
Elizabeth (now grown up, steps closer) Remember me?
John: (surprised) Elizabeth? (wondering if it is really her) Whew! You’ve changed!
Elizabeth: So have you by a few inches. Still the same John Horner I hope.
John: No change there.
Elizabeth: I heard you tell William you’re leaving again.
John: (nods)
Elizabeth: Why all this construction work every summer? You’re really good at
making things grow. I thought you loved the land. Why are you leaving it
again?
John: I do. I do love it. But…(sigh heavily) I’m trying to figure out what God wants me
to do with that love. (1:00)
Music: Begin music intro:
(John to Elizabeth)
PLANTING IN THE CORNER OF MY FATHER'S FIELDS.
WHAT WILL BE COME OF THE DREAMS I DREAM?
WHAT GREAT POSSIBILITIES FOR THE MAN WHO DARES
TO PLANT HIS HEART IN HIS FATHER'S CARE?
FARMING'S NOT GLAMOROUS.
IT REQUIRES A LOT OF TIME UPON YOUR KNEES.
IN MY POCKET THERE'S NO GOLD, ONLY POTATOES FOR SEED.
GATHER IN THE HARVEST FROM THE CORNER YIELD,
SO NOTHING'S LOST FROM THE FATHER'S FIELD.
WHEN WE COUNT THE HARVEST, WHAT WILL BE REVEALED?
A FARMER CAN WORK MIRACLES IN THE FATHER'S FIELD.[9] (2:12)
Hickman, grown up: (enters, saunters over to Elizabeth and John). Well, look who the
crows brought in. Little Jack Horner to his Father’s Corner.
Elizabeth: (rolls her eyes) What do you want, Hickman?
Hickman: (edging closer to Elizabeth) You will be at the town social tonight, won’t you,
Elizabeth.
Elizabeth: I’m…considering it.
Hickman: Better not hang around Farmer John too long. You’re likely to get--soiled.
(looks at them for a laugh.) Get it?
Soiled---- by the dirt. (looks from one to
another and gives condescending
grimace, then steps in between to talk to
Elizabeth). I’ll be at the social tonight and I need a worthy dance partner.
That lucky woman could be you. (bows mockingly and exits)
Will: (rushes in) Hurry along, John. The folks are anxious to see you.
John: I’ll be right there. (turns back to Elizabeth) Maybe we can finish our
conversation later.
Elizabeth: How about--- at the town social tonight. I do plan to go.
John: Oh! (smiles at her) Well….Good, …(awkwardly) .uh…well....I’ll see you there!
(heads toward the house.) Bye! See you tonight!
Elizabeth: (smiles to herself as she waves goodbye)
You certainly will! (exit quickly,
change into party dress, remove
the bonnet.) (1:05)
Lights: blackout.
Stage Crew:
Remove fence
Country Dancers:
Take positions.
Scene 8: Village Gathering
Music No. 10: Spanish Dance
AV5: Inside of dance hall or barn
Setting: Scene opens on a group doing a country dance. A few not dancing are engaged in conversation. Elizabeth changes into her best dress while dance is going on.
Lights: Slowly
Come up on entire stage area, emphasis on middle where dance is going
on. Some soft light on refreshment table.
Dancers: (after
the dancers have completed the first section, they repeat the dance while the
following conversation happens)
Hickman: (enters during last part of dance,snaps his fingers and young woman takes his cape, swagger stick, he cross to RA, sips punch)
Elizabeth: (entering during repeat of dance, looks for John)
Hickman: (standing near the refreshment table, sees her, moves quickly to her) So----
you did come. (he helps her remove her wrap, snaps his
fingers and girl
reappears to take it; he takes Elizabeth’s arm and propels the
reluctant young
woman toward the punch bowl)
I drove our best carriage here tonight. (said as if
this is a very important event and also pouring her a cup of punch) I could give
you a ride home. (hands her the cup) There are some things I’d like to discuss
with you.
Elizabeth: A kind
offer. (takes the cup, sips it,
glancing the crowd nervously as she
does. She spots John who is just entering. Her face brightens.) but I won’t be
needing a ride. (puts the cup
down, she looks at John again)
Hickman: What? (sees where she is looking, grows angry) Oh…It’s that way, is it?
You think to go with Horner? (makes a scoffing sound) You’d be lucky to get a
ride on a hay wagon.
(threatening, grabs her arm to detain her) Let me warn you. Don’t trade quality
for rubbish! That would be something you’d be--- very sorry for later.
John: (seeing
that she’s being held by Hickman, John is deflated and turns toward center
apron, walks slowly down center)
Elizabeth: (noting John turn away, pulls free of Hickman) I appreciate your advice.
Now, if you will excuse me! (Rushes to catch up to John) You’re not leaving
already?
John: (hurt) You seem to have more profitable affairs to pursue.
Elizabeth: You mean Hickman? (shakes her head) No, I came to finish our
conversation. Now ask me to dance before Hickman comes over here.
John: You’re not with him?
Elizabeth: (said with determination) Never!
John: (surprised.
obliges. They dance a few bars until
the music stops, then head back to
the down apron)
Dancers: (Music has ended, act as though you are seeking your next partner) (4:00)
John: Before I lose my nerve we’d better finish that conversation we started earlier.
(sighs, steps away a couple of steps trying to get up more nerve)
Elizabeth, I do want to return to Nauvoo, (turns back to her ) but--but not alone.
Elizabeth: (a look of relief, turns slightly away to avoid his eyes) I wouldn’t want that
either (turns back to face him)—being
alone—wouldn’t be very--. (she’s
hinting)
John: (a step closer) You’d consider…?
Elizabeth: (sighing at his temerity) My dear John, I’d better say yes before you change
your mind.
John: (Hugs her
close, then gazes in her eyes, laughing—excitedly dashes back into
the dance area, pulling
Elizabeth by the hand along with him) (:30)
Sound: Music No. 11: Rustic Reel
Hickman: (crosses past them, fists clenched, hisses) Don’t say I didn’t warn you!
Lights fade down). (1:00 or less)
Dancers and cast: (exit left)
AV6: (words) “Outskirts of Nauvoo that same evening.”
Sound: Music of the dance can fade out when next scene on apron is almost ready. There should be a little pause, then the actor enters.
Stage Crew: Close the curtains when stage is set.
Setting: An interior room suggested by a bare wood
table and a few chairs represents a home in Nauvoo.
Sister Woodward:
enters, carrying a lantern. (ad
lib, there, there, Mama’s here) Picks up the baby from cradle and sings a
lullaby.
Lights when you see the
lantern light, bring up apron scene.
Sound: When she begins to sing the lullaby, begin
the sound track for mob scene
Music No. 12, Recording: Mob Scene.
Suddenly gunshots are heard as a mob rushes the cabin through the
audience aisles. The husband and son
enter onto RA from off stage right. The
son grabs a chair.
Sister Woodward: (screams, holds baby close)
Woodward: Son, remember what Brigham Young
counseled. We're not to resist the
mob.
Colonel Levi Williams: That's right, sonny. We wouldn't want anybody hurt now, would
we? (grabs the chair, throws it aside, then puts a gun to Woodward's
head)
You know
and I know that Joe Smith is the biggest liar of all time. Say it, Joe
Smith is
a false prophet!
Son: You leave my father alone.
Joseph was a true prophet and you killed him!
Mobster: One more word out of you and your father's a dead Mormon (pushes son
away).
Colonel Williams: Old Joe's duped these poor people. Right?
Mob: right!
Colonel Williams: When Mormons are around, is your property
safe?
Mob: No!
Colonel Williams: Is this the kind of people we want in
Hancock County?
Mob: No!
Woodward: We've promised to leave as soon as spring
arrives.
Sister Woodward: We've already started packing.
Colonel Williams: Well, ain't that a fine coincidence. We've come to help you out. All
right,
men, move 'em out (Mob begins throwing
chairs out of house) Woodward,
you've
got exactly two minutes to pack up and move out.
Mob begins to spread Kerosene around the room.
Family hurriedly picks up what they can and exits. Mob Leader takes candle, pretends to throw
it into house.
|
Sound:
explosion, Lights: Flash of Light and then sudden blackout. |
In blackout, one of mob members set the table on the lower
platform, then exit.
(1:53)
Scene 10: Office in New York
Sound:
fade
out when stage is set and action is ready.
Lights: up on lower apron platform
Brannon:
(enter in dark, bring the paper and pen with
you. Lean at the table, sign name
to the letter) This letter should do it. (Holds up a letter, hands it to Erastus).
The mob
violence is getting worse, Erastus. We
have to get everyone out of the
United
States before we’re all killed.
Erastus: Is that what Brigham Young instructed?
Brannon: He did,
Erastus: And the poor who haven’t money for covered wagons and oxen? What about
them?
Brannon: We’ve chartered a merchant ship, the Brooklyn. We’ve created a passenger
compartment
in the hold.
Erastus: That’s not a lot of room if you plan to carry cargo, too. How deep is the hold?
Brannon: We’ll put the cargo in the bottom of the ship. The passenger compartment,
(measuring with his hands from the floor
up) You’re right. The ceiling’s
five feet
high. (frowns at the thought, apologizing)
Well…It’s all we can do.
(brightening)
But there’s 32 staterooms, bunk beds, and a skylight that
will open
for fresh air and light.
Erastus: When do you leave? .
Brannon: We sail on February 4th
from New York.
Both exit in dark. (:50)
Lights: out on lower platform, up on apron.
Scene 11: Library
Students (Isaac and Will II): (Enter during blackout from the place you
last exited. )
Student Isaac: Looks like we’ve got a problem. The professor doesn’t think
our
project has merit.
Student Will: .You and I both know he’s wrong.
Student Isaac: But we’ll have to make our reports really
impressive to change his mind.
Student Will: Agreed.
How’s your section on transportation?
Student Isaac: To be honest, I haven’t found a thing.
Student Will: And that’s because…
Student Isaac: OK, you got me. I’ve wasted time surfing on my computer and big
surprise,
nothing out there.
Student Will: (Laughs) Well, like the old professor said, find some original
documents!
(he
exits. During intermission, put on your
pioneer shirt and put on button up
modern
shirt over the top of it.)
Student Isaac: (digging through the books on the cart)
At least the library has some of
Horner’s
own writings. Let’s see—how he got to
California should be easy
enough to
find. Ah—says he boarded a ship. A ship? An old beat-up relic
called
the Brooklyn.
Stage Crew: Open curtain.
Scene 12: Aboard the
Brooklyn
AV9b: picture of a sailing ship.
Lights fade on apron, very slowly up on stage.
Isaac (leaves his library post carrying the book with him) Well, here’s a picture..
(looks from the book picture to the ship, gestures to the ship) I’ve found my place
to get started. (exits, put pioneer costume shirt on).
(1:00)
John: Here it is,
number 5. (Opens stateroom curtain)
Emerette and Nancy: Hello!
John: Oh! Sorry, thought this was our room.
Emerette: It is--
partly. There’s nine in our
family. We can’t fit in one stateroom.
Elizabeth: (slightly upset, speaks to John.) But Brannon said every family would have
their
own stateroom.
John: Never mind
that, Elizabeth. I looked at the
passenger list. Must be well over 200
people
trying to find a bed in a hold the size of your father's house.[10]
Nancy: (stands, looks up, hoping to please) We
won't be much bother, we promise.
Elizabeth (kneeling
close to the child) I'm sure we'll get along fine. (pats her on
the head) What's your name?
Nancy: Nancy. (points
to sister) That's Emerette.
Laura: (carrying Albert, pushes her way through
crowded aisle to appear at their door)
Good day
to you. I'm Laura Goodwin and this is
Albert. We're in the stateroom
next to
you. I see you've met my daughters.
John: We're the
Horners. John (shakes hands)
Elizabeth: (holding out her hand) Elizabeth. You have seven children so I hear.
Laura: Yes. The
others, Isaac, Lewis, Edwin, and Lucinda are here somewhere.
Isaac Sr. (steps up) I'm Isaac Sr.. (Horners introduce
themselves quickly).[11]
Laura: I guess you don't have children.
John: Oh, not
yet! We got married a couple of days
ago.
Isaac Sr. Ah!…This
is your honeymoon.
John: A rather
uncommon wedding trip, I think.[12]
Laura: I see. Well….come girls, let the Horners get
settled (to girls, pointedly) and
have a few moments alone.
(they return to their room, but
not Emerette.)
1:20
Sound: A bell is heard clanging 3 times.
Elizabeth: What’s
wrong?
Emerette: The bell
signals our assignments. Didn't you
read the list Elder Brannon
posted?
Elizabeth: I
thought I'd have time to do that later.
Emerette: (starts
moving to door) That's the call for
kitchen duty. All women
without
children are expected to help.
Elizabeth: (to John) I guess that means me, too. (she
pecks him on the cheek) Be back.
(:25)
SONG 13: RULES AND REGULATIONS[13]
(Goodwins,
Horners, Brannon, Glover sing) (1:24)
WHEN REVEILLE BEATS, JUMP OUT OF BED,
WASH FACES, HANDS, AND COMB YOUR HEAD,
YOU CAN'T LEAVE YOUR ROOM TILL YOU'RE PERFECTLY DRESSED
INCLUDING YOUR COAT AND MAYBE YOUR VEST.
BY SEVEN A.M. DO YOUR ROOM AND BED.
STAY OUT OF THE HALL WHILE THE TABLE IS SPREAD.
BREAKFAST FOR CHILDREN, EIGHT-THIRTY A.M.
THEN GO TO YOUR ROOMS OR THE DECK ONCE AGAIN
ADULTS WILL HAVE BREAKFAST AT QUARTER PAST NINE
WITHOUT ANY CHILDREN TO PESTER AND WHINE.
BY TEN A.M. SHARP, THE HALL SWEPT CLEAN
FROM THEN ‘TIL TWO, IT'S READ, OR DREAM
HOT DINNER IS SERVED AT THREE, AND AT FOUR.
CHILDREN EAT FIRST 'CAUSE ADULTS WANT MORE.
THE ROOMS ARE CLEARED, AND SWEPT AGAIN
THE DOORS ARE OPEN UNTIL 8
P.M.
TO AIR OUT OUR ROOMS WHILE WE VISIT AND SING
OR DO ANY OTHER "INNOCENT" THING
AT 8 IN THE EVENING A COLD LUNCH IS SPREAD
FOR ANY TO EAT BEFORE GOING TO BED.
BEDTIME -- NINE O-CLOCK, I SAY.
AND THAT IS THE END ….OF A SHIP BROOKLYN DAY.
Lights: quickly out on ship hold,.
Scene
12B: Deck of Ship a few days later
Sound: wait for time to read
the visual, then begin music recording—Atlantic Storm
Song 14: Atlantic Storm (choir) [14] sheet music
Lights: up softly on deck of ship as if it is dark
outside.
The following dialogue needs to
be interspersed in the music so that there is something audible happening
between pictures on screen.
Captain: (enters)
Sailor: There, sir (pointing).
Those dark clouds closing in.
Captain: Looks like a storm brewing.
Sailor: The winds getting stronger, sir, and the clouds are building,
too.
Captain Richardson: Get the passengers below.
Sailor: Aye, aye, sir. (shouting) Attention all passengers. All
passengers,
go to the hold immediately.
Glover, Brannon, Horners,
Goodwins cross the stage to other side escorted by David.
Sounds of creaking
ship, wind, thunder, and rain keep growing in intensity. Music
continues.
Lights: Dancers will depict storm. Places will need to be lit according to
choreography.
(choir)
AND THE WIND GREW STRONG AND THE CLOUDS DID LOWER,
THEN THE SKY GREW DARK AND THE WAVES DID ROAR
AS THE OCEAN ROSE.
THEN THE RIGGING CREAKED
WHILE THE SKY GREW BLACK AND THE LIGHTNING STREAKED.
Captain: All hands
on deck. (said under first line of song)
Sailor: All hands
on deck, all hands!
(pause for the imaginary men to appear)
Captain: Furl the
sails men, quickly. (said as choir sings “waves did roar”)
Sailor: Aye, aye,
Captain.
THE LIGHTNING, THE THUNDER. WAVES BURIED THEM UNDER.
THE LIGHTNING, THE THUNDER. WAVES BURIED THEM UNDER.
SEA CHURNING AND HEAVING.
MEN FEARING AND GRIEVING.
SEA CHURNING AND HEAVING.
MEN FEAR AND GRIEVE.
(spoken under the above lyrics)
Captain: Bring out
the storm sail. (said first time
choir sings “The lightning” )
Sailor: Bring out
the storm sail.
(Pause, watch for storm sail visual image and wait until
it is done)
Sailor: Storm sail
up, sir. But the waves are building
fast.
Captain: Batten the
hatches.
Sailor: Batten the
hatches!
WHITE CAPS LOOMED LIKE MONSTROUS MOUNTAINS
CRASHING DOWN LIKE FRIGHTENING FOUNTAINS.
CLOUDS OF BLACKNESS PRESSING LOWER,
WHILE LIKE DEMONS THEY DID GLOWER.
FIERCE WINDS ARE BLOWING; CLOUDS ARE LOWERING,
BURYING THE SHIP.
WAVES LIKE POUNDING FISTS, HAMMERING THE SHIP.
(dialogue under above lyrics)
Captain: Secure the
anchor. (said when choir says
“clouds of black”)
Sailor: Secure the
anchor.
Captain: We’ll have
to ride it out. Lash the helm. (said when choir choir sings
“hammering the ship”)
Sailor: Aye, aye,
Captain. Lash the helm!
LIGHTNING FLASH! THUNDER CRASH!
WHITE CAPS PEAK.
WOMEN SHRIEK AT THE SHIP WEAKENING.
MONSTROUS WAVES BURYING THE SHIP, THE WEAKENING SHIP.
ON THE NEARLY SINKING SHIP, THE WEAK’NING SHIP,
NEARLY SINKING, EVER WEAKENING SHIP, THE SHIP.
(The
following said after the last line of the song)
Richardson: (shouting
over the tumult of storm) It’s no use, men. We’ve done all we
can. The ship’s breaking up. I’ll go below and warn the passengers.
Lights softly up in
hold on Laura Goodwin with her child
Sung by Laura Goodwin, cuddling one of her younger children
HUSH, MY DARLING, HUSH.
THRU STORM THE WIND DOTH RUSH.
BUT ANGELS HOVER WHILE YOU SLEEP
TO GUARD YOU FROM THE OCEAN DEEP
SO HUSH, MY DARLING, HUSH.
Music continues under dialogue:
John: (head in hands, seated at the bench of the
table on end near the stair.
Looks up; Sees captain) Captain. What's happening up there?
Richardson (bowing
his head in defeat): In all my
years at sea,
I've
never seen a storm this violent! (gesturing
with his hands) The sky is black.
Gigantic
waves come from nowhere, screeching and howling like…great
monsters. If my cabin is ripped off (gestures above
his head to the stairway) a
gaping
wound will be left in the deck. The
angry sea will pour in and drown us
all. I'm sorry, everyone. I have done all in my
power to save her, but the sea
has won the fight.
Passengers: (Reminder—the passengers need to react to
his report)
Richardson: (removes
his hat) There is a time in every man's life when it is fitting he
should
prepare to die. That time has come for
us. If any of you haven't made your
peace with God, you'd better do it now.
Glover: No, Captain, No! Have
courage, all of you. God holds this
ship in His hands. I
can feel
Him even now. We're going to
California, wherever it is.[15]
Richardson: I don't think you understand.
Glover: Oh, we understand. Don't
worry, Captain. We left for California
and we Shall
get
there!"
(Passengers sing a hymn.
John:
Captain, I’d like a word with you.
Richardson and John:
exit hold and to climb up to the deck)
Lights:
go to shadows on passengers, up on small spot of deck when Captain and
John
get
there.
Light: soft pool of
light on Captain and John
Song
14b: God Moves in a Mysterious Way - sheet music
(passengers and choir)
GOD MOVES IN A MYSTERIOUS WAY, HIS WONDERS TO PERFORM.
HE PLANTS HIS FOOTSTEPS IN THE SEA, AND RIDES UPON THE
STORM.[16]
Under the following
dialogue the passengers and antiphonal choir sing quietly:
FEAR NOT,
I AM WITH THEE, O BE NOT DISMAYED
FOR
I AM THY GOD AND WILL STILL GIVE THEE AID.[17]
Richardson: (pointing, shouts) See how the gale
is tearing at the spars.
John: (nods) I do.
Richardson: If they break, the ship will turn and roll.
John: (shouting) And we go
down.
Richardson: Yes.
John: Captain, you're a god-fearing man. Why don't we ask Him to strengthen the
spars?[18]
Richardson: (nods
his agreement) (6:48)
The two men, kneel, bow their heads in prayer as the lights
dim. Passengers below pray Lights:
dim entire scene to black.
Leave last visual on screen until music is over.
Passengers
move to next scene positions.
Scene 13: On the Pacific
AV 12a (words) Aboard the
Brooklyn, two months later (April 1846)
|
AV 12b Picture of a calm Sea Lights: up in hold of ship |
Glover: (Below deck, finds Brannon who is in the company of Isaac
and Laura)
Elder
Brannon, we made it around the Horn!
It’s another miracle.
Laura: (holds a small basket of sea biscuits)
Isaac: (has a ladle to check the water)
Captain: (enters behind Glover)
John and Elizabeth: enter too, but hang back, listening.
Brannon: (Studying a set of large
kegs) Yet we have something else to worry about.
Isaac (just behind him opening
barrels)
Richardson: And that is?
Brannon: This is all the water we have left.
Isaac: Might last the week, if we're lucky. Not much longer.
AV 12c Picture of algae-covered water
Laura: You can’t drink it unless you strain the algae out with your
teeth.
Captain: Why hasn’t it been boiled?
Isaac: Can't! We're out of fuel.
Laura: The meat and sea biscuits are nearly gone as well. (Show him the basket, then set
it on
the table)
Captain: (See the basket and move away, thinking.)
Brannon: (sit down front of table, the realization feeling heavy)
We rounded the cape---
but we’ll die of hunger.[19]
Isaac (pull Laura aside, comfort
and reassure her)
Brannon: (center of hold at
table feels the heavy weight of any decision lay heavily on
Him. The others have stepped away, leaving him in
the abyss.)
AV 12d Fade to black, no
picture.
Richardson: (suddenly an idea occurs. turns toward Brannon) Wait,
Brannon.
Starvation’s
not the only choice.
Brannon: (looks up, hopeful)
Richardson: (crosses closer) We could make for
Valparaiso.
Plenty of
food and water there—at a price.
Isaac: (moves back into conversation) We don't have any money
left. Everyone on the
ship is
poor.
Richardson: Do you have a better suggestion?
Isaac: (shakes head):
Brannon: (stands, decision made) Valparaiso then. Spread the word that everyone is to
pray for
a speedy trip. (crosses to leave then he adds)
And—from now on, only
one pint
of water a day.
Isaac: One pint!
Brannon: Better than none.
Isaac: (gesturing to Laura) But my wife is pregnant
Brannon: Can't be helped. Twill
keep her alive a little longer. (exits as if heading for
his
cabin on deck)
Glover: (Shaking his head) We'll
be sending more folk over the rail. (hurries
to catch
up to
Brannon)
Isaac: (pulling Laura to him, preparing to exit) Heaven help
us!
Isaac, Laura exit into stateroom.
Elizabeth: Did you hear that! We’re almost out of water.
John: Have faith, darling.
Elizabeth (frightened, sinks to
bench by the table, head in hands).
John: (crosses to comfort her)
We can choose to be discouraged or choose to hang on.
Elizabeth: (Looks up to him, yearning for comfort
but not finding hope) But how can I?
(Look
at the bowl of biscuits on the table) Nothing is left to eat except a few
dry
biscuits
crawling with worms. (picks up the
basket, looks in despondent)
Sometimes
I fear the rats will leap on the table and snatch even these from my
fingers.[20]
John: (takes the bowl and gently sets it down) Elizabeth,
please….
Elizabeth: (very frightened, scared to admit it)
I--I’m losing hope, John. (almost
hyperventilating,
nearly in tears) Oh…where is God? Where can He be? How
can I hang on?
John: (reach out to her, pull her
up) Use this. (Hold her close) Maybe it will help.
Elizabeth: (puts
her head on his shoulder, sighs)
Maybe. (1:45)
Song 15: Is There an End? - sheet music
Elizabeth:
IS THERE AN END TO THIS ENDLESS SEA? IS THERE A PLACE OF PEACE? HOW CAN I FACE THE DAWNING OF MORE DAYS FILLED WITH ENDLESS GRIEF?
John:
IF YOU COULD SEE BEYOND THE STORM, BEYOND THE BLACKENED SKY. YOU WOULD SEE INTO HEAVEN--SEE OUR SAVIOR NEAR.
HE CAN HEAR YOUR CRY.
FOR IT IS CHRIST WHO IS MASTER OF WHAT WE SEE. SO, COME WITH ME, WHERE THE OCEAN MEETS THE SKY. (he urges her up to the deck) (1:50)
Lights: Small
pool of light on the couple as they sit down on the deck and look at the
sea.. Lights in hold dim to a soft haze.
Stage Crew: Fog machine spreads cloudy mist into the hold of the ship.
Lights (begin to brighten in hold as angels are seen)
Angels (dancers): enter through the fog and dance a blessing upon the ship.
AV13a. Sunset at
Sea (dark version)
Song No.
15b: Let Not Your Heart Be Troubled - sheet music
(choir and dances dressed in white) (2:10)
Possible Soloist…
LET NOT YOUR HEART BE TROUBLED, NEITHER LET IT BE AFRAID.
FOR I WILL BE ON YOUR RIGHT HAND AND ON YOUR LEFT,
BE NOT AFRAID.
Choir alone is heard…
LET NOT YOUR HEART BE TROUBLED, NEITHER LET IT BE AFRAID.
MINE ANGELS ARE ROUND ABOUT YOU, TO BEAR YOU UP.
BE NOT AFRAID.
BE OF GOOD CHEER.
DO NOT FEAR.
FOR I, THE LORD, WILL STAND BY YOU.
THEN BE OF GOOD CHEER. DO NOT FEAR.
FOR I, THE LORD, AM BESIDE YOU.
LET NOT YOUR HEART BE TROUBLED, NEITHER LET IT BE AFRAID.
FOR ANGELS ARE ROUND ABOUT YOU TO BEAR YOU UP,
BE NOT AFRAID.
MINE ANGELS ARE ROUND ABOUT YOU TO BEAR YOU UP.
BE NOT AFRAID.[21]
AV13b (light beaming as sun sets)
Lights, fade to Black out.
Dancers, choir, and cast exit
Scene
14. Off the coast of Valparaiso
AV 14a. words “Several days later”
AV 14b. Map of travel to Valparaiso
|
AV 14c.
Sunny Sky at Sea |
Sailor: Land, ho! (hands spyglass to Richardson)
Richardson: I see the mountains of Valparaiso! We're almost there.
Brannon: How much longer, now?
Richardson: Just a matter of time. The harbor is in that direction. With this strong wind
we will
walk on land in a matter of a day or two.
Glover: Then let's celebrate.
What do you say to having—(thinks hard)-- an extra
biscuit?
Richardson: A fine idea.
Glover: (races away to tell everyone of the celebration. Return to deck when dancing
starts)
Brannon: (somewhat reluctant) Oh, all right! (:20)
Music No.
16: Sea Biscuit (1:21)
Music turns playful as cooks and single women serve the
passengers moldy sea biscuits. A brief
spontaneous dance ensues.
AV 15. Storm
brewing on the Pacific (shown just before the dance ends)
Cast: Elizabeth,
John, Nancy, Lucinda and Edwin Goodwin, Joseph S Glover come up to deck to
watch the dance.
Laura Goodwin and Isaac with the other children sit in
hold to watch dance from the bench.
Emerette is there, too.
Richardson: Storm![22]
Music is dashed to a halt mid step.
Brannon: What do you mean, storm?
Richardson: Get your people below. There's a squall out there, blocking the
harbor. I'm
going to
make a run at it, but the ride may not be pleasant.
Brannon: (standing there,
bewildered)
(The scene below happens
almost at once)
Glover: We need to move quickly.
(shouting) Everyone! Time
to go below.
(Race
down into the hold to warn everyone there, You can shout—“storms
coming
up fast. Tie the children into the
bunks so they won’t be hurt.” then turn
to
assist John and Elizabeth who are descending with your son, Joseph S Glover.)
Dancers, if on deck: (not
quite so cooperative, move in disbelief, great disappointment
toward hatch)
|
Laura: (start counting your kids, confer with
Isaac on this. Notice that Lucinda,
Nancy, and Edwin are not there. Discuss this aloud. Do the following at the same time so it is noisy.) Isaac: I’ll look in the staterooms. (start calling
the kids names, search around) Laura: ( Call the kids. No answer. Rush to deck stairs. They will be blocked by Elizabeth and John who are coming down. When you see Nancy, call Isaac— Isaac, I found Nancy. Isaac: (dash out, grab Nancy and rush her into
the Horner Stateroom) Laura:
Now where did Lucinda go?
(race up to deck, calling “Lucinda” as soon as the way is clear.) |
Elizabeth: (grab Nancy’s hand, pull her into hold for safety)
John: (follows, helping Joseph S Glover to get down, [remind
Lucinda to stay on deck])
(Meet
up with Glover, tell him aloud, “I’ll take care of Joseph for you.” Take
“Joseph”
into a stateroom.)
Glover: (rush off another direction, go get the lantern for your next
entrance)
Sailor: All hands on deck!
Laura: (find Lucinda) Hurry, sweetheart. We must get to the hold. (scoot Lucinda down
in
front of you).
Elizabeth: (grab Lucinda, take her to the stateroom)
Lights: begin to fade to dim light
Laura
Goodwin: (begins her descent and falls, shrieks as she
does)
Lights still dim:
John: (shouting) Something’s
happened. Someone get a light,
quick!
Glover: (enters, carrying a lantern)
What happened?
Lights: Intensify
light around Laura for lantern effect
Glover: Oh no! It’s Laura
Goodwin. (calling loudly) Isaac!
Come quick! Your wife’s
hurt.
Isaac: (dashes from the stateroom, followed closely by
Nancy. Kneels by Laura. Laura!
Nancy: (Kneel by Laura)
Mama! Oh, Mama!
During Blackout, “Laura’s body is removed from deck.” She goes to change into white.
|
Lights: fade up on
small area of Deck (Capt and Brannon in conversation) AV 15a: Storm at
Valparaiso worsens |
Richardson: (shouting)
How can this be? There has never been
such a storm on the
Pacific
Ocean! It's as if the devil rages in
the skies, driving us out of the harbor
each time
we try to enter. At this rate we'll be
blown clear back to the Horn.
Brannon: But if we can't make it to Valparaiso, we die. The water is all but gone.
Richardson: There is one chance.
Brannon: Anything!
Richardson: Several hundred miles away, there's an
island. Inhabited.
At least
it used to be.
Brannon: And water?
Richardson: Plenty of it.
Brannon: Then do it![23]
Lights: Black Out (:30)
AV 16a (Words) Beach at Juan Fernandez Island, May 4 1846
AV 16b Map of voyage to Island
|
AV 16c Beach
area of the Island Lights
up on “beach area” of stage |
On stage, group of men carry a covered stretcher and set it
down, others, carrying shovels continue past her and stand to one side as
children gather around stretcher.
Brannon: Brothers and Sisters. We
gather here to mourn the passing of our Sister, Laura
Goodwin. And although we will miss her, this parting
is only temporary. Our
bodies
and spirits will be reunited. Jesus
Christ gives us comfort and peace at a time such as this, for He said, “I am
the resurrection and the life; he that believeth in me, though he were dead,
yet shall he live.”[24] One day we will be united with loved ones.
Passengers, one by one step up
to “dead” Laura and pay respect. They
have found abundant flowers on the island.
A few could place them beside her.
Isaac Goodwin: (pulling
them gently away). Come away,
children.
Nancy: (clutching her father’s arm) We can’t leave Mama. She’ll be all alone
here.
Isaac: She won’t be lonely, my darling.
Perhaps Mother will stay for a moment to kiss
you each
goodbye, but then she will go up to heaven and wait for us to join her.
Isaac: (Pulling her into his arms)
It isn't your turn, Nancy. Mother has
gone ahead to
get our
house in heaven ready for us, just like she always does.
Nancy: Like she always does? And
will she make us ginger cake, up there?
Isaac: I wouldn't be surprised. (he picks up the little Albert and exits (2:30)
Lights: narrow on
Elizabeth and Nancy.
Music: plaintive
theme of Laura’s song begins.
Elizabeth: (seeing that he must manage so many children, comes for Nancy)
It's time
to get back on the ship, my dear.
Nancy: (sobbing) Oh, Elizabeth. I want my Mama![25]
Song 17: This I Know (2:40) - sheet music
Elizabeth (sings): THINK OF HOW YOUR DEAR MOTHER
FELL ASLEEP LAST
NIGHT.
NO MORE PAIN AND SORROW AS SHE REACHED FOR THE LIGHT.
THERE SHE MET THE SAVIOR AND HIS LOVE FILLED THE AIR
AS HE WELCOMED HER HOME AGAIN. SHE’LL BE WAITING THERE.[26]
Nancy: But, doesn't she want to come back to see us? I'm afraid she'll
forget me.
Elizabeth: She won't ever forget you. She'll know when you need her and she'll be
there.
In
time, you will understand.
(sings)
FAMILIES ARE FOREVER.
GOD HAS TOLD ME SO.
YOU
WILL NEVER WALK ALONE. THIS I KNOW.[27]
Nancy: But I need Mama now.
Elizabeth: Then let’s be quiet together. Perhaps you will feel her near.
Stage Crew: Turn on fog
machine for Laura’s appearance.
Laura: (dressed in white,
enters during the child's request.
Nancy is not aware
and is facing Elizabeth.
Slowly she raises her face skyward as if listening)
Lights: Special on Laura Goodwin as spirit being.
Laura sings: FAMILIES ARE FOREVER. GOD HAS MADE IT SO.
Nancy: (senses her mother near and reaches her hand out toward the
vision)
Laura: (reaches out to touch her
daughter’s hand): I WILL ALWAYS WALK WITH YOU.
Elizabeth and Laura: THIS I KNOW. THIS I KNOW.
Laura: (backs away, eyes still on her child, exits from view)
Lights: fade slowly down
to blackout
Stage Crew: Close curtain
End of First Act 1 hour 15 minutes
Lights: House lights up.
Lights: stage Work lights on
Stage
Crew: Clear ship set, prepare for Act
II staging
Act
II
Stage Crew: Curtain remains closed. Call places for cast of Fences.
Lights up on Apron.Table with Will talking to the
professor.
Professor: Still researching..uh—who was it again…?
Student Will: (near the library study table) John
Horner—one of the first colonists of
Northern
California. (picks up a book, opens
it) See this ship (to picture in
book)
It
entered San Francisco Bay in July of 1846.
(Lights: no light on stage yet)
Student Will: (turn the page) Here’s where they
landed-- Yerba Buena. They built
homes,
businesses, a school, and laid out roads to other parts of the Bay. Little
Yerba
Buena grew overnight into a town--- so, they renamed it—San Francisco.
Professor: (intrigued and surprised)
Really? San Francisco, huh?
Will: (quickly, realizing he’s got the professor’s interest now) Look, professor. If you’d
only
consider how much California changed because of John Horner.
AV 18. Dry
California Landscape
Student Will: He started by buying land in the east bay and
beginning his first farm.
That’s
how his contribution to history began.
(:28)
Lights: If lights followed action of dance, adding more areas, that would be great.
Musical No. 18: FENCES (dance) (3:56)
(A hoe-down
rhythm starts up and callers are lit as and she begin their square-dance
"call")
HORNER PLANTED HIS FIRST CROP.
WORKED UNTIL HE THOUGHT HE'D DROP.
INSECTS ATE IT ALL AWAY,
STEMS AND LEAVES IN A SINGLE DAY.30
REFRAIN: (dance
music as he and Elizabeth react to the description)
WORRIED, HORNER WENT TO SLEEP
WOND'RING HOW HIS CROPS TO KEEP,
BUT A DREAM HE HAD THAT NIGHT
MADE A RATHER CURIOUS SIGHT.
REFRAIN: (dancing
cow comes in and cavorts around John, then acts out
the pulling up of potatoes in the field)
SO WHEN MORNING CAME HE WENT
TO A FIELD THAT WAS ALL SPENT.
THERE A ROVING COW HAD FOUND
TATERS LYING IN THE GROUND.[28]
REFRAIN: (John finds the cow eating and rejoices at what he finds)
MINERS CAME FROM EVERYWHERE
WANTED VITTLES. NOTHIN' THERE.
HEARD OF HORNER'S WONDROUS YIELD.
RACED REAL FAST TO HIS TATER FIELD.[29]
REFRAIN:
(immigrants—male and female dance this out to a double length
Version of refrain)
Stage setting: desk and
chair is brought out to represent a new office for John’s goring business. Sign on desk says Horner Farm.
Lights: up on “John’s Office” –the desk and chair.
MANY FOLKS ABANDONED GOLD
FOR A JOB THAT THEY COULD HOLD.
TO THE NEEDY JOHN DID YIELD
A PLACE TO WORK IN THE FATHER’S FIELD.
AV 19: California
with Green Fields
REFRAIN:
(Immigrants arrive in native costume, entering up the aisles through the
audience. They go to John, seek work,
he assigned them a “fence”.)
MONEY CAME A-POURING IN
SO DID JOHN AND LIZZY'S KIN.[30]
BOUGHT MORE LAND AND STRETCHED MORE FENCE.
ALL THAT WORK, IT WAS INTENSE!
Student Will: (pulls off his modern shirt, enters action on stage.) Come on Professor.
Take a closer look.
Professor: (picks
up the same book Will put down and scans it, then decides to follow
onto stage, exits out a wing.
Lights: out on apron library corner.
REFRAIN:
(All dancers now moving out to create imaginary fences and work the
imaginary plots of land.
Meanwhile Eliz & John's relations show up and
join the effort. John’s office
is made more elaborate—potted plant.
Perhaps a coat hanger or small shelf for books. )
NOW BECAUSE OF THEIR GREAT LOVE,
GOD SENT CHILDREN FROM ABOVE.
FIRST THREE BOYS AND THEN A DAUGHTER.
LOVED THOSE CHILDREN LIKE THEY OUGHT-ER.
REFRAIN: (Children
march in and dance as if behaving themselves, helping parents)
MORE POOR AND LOWLY CAME ALONG.
EACH ONE WITH THE SAME OLD SONG.
WON'T YOU HELP, KIND
SIR, WE PRAY.
HE WOULD NOT TURN A SOUL AWAY.[31]
REFRAIN: (miners
still mining and buying food, others are working the fields,
Children still marching about, poor come in long lines for
handouts. John
seen co-signing papers. )
(We see
John reading the letter which a dancer brought in.
Other routines continue as before for one refrain, then all dancers
move into one great big celebration of the Horner's success as more
elaborate furnishings are added to John's new office of J. M. Horner &
Company34.
Elizabeth enters, helps John into a suitcoat. Add another chair, lamp,
More papers, waste basket, plant stand and fern)
(Lights continue on scene of people work more
and more acres. John sits down and
starts doing paper work, whatever would make it look complete. Also need to
send errand boys to carry notes and letters he is handling.
Children of Horners
working in fields, along with relatives.
John can ad lib commands to his staff.
This scene 1850's)
Lights heighten on John’s office and the stairs up to it, dim down on remainder of stage.
Hickman: (enters office, briefcase in hand. He has
grown up. Also wears a business suit
but this one is to show off his wealth. His prosperity has made him even more
arrogant) Horner! (as if they had been old friends) Remember me? Hickman. Just arrived in San Francisco. Father set me up with my own bank.
John: (eyeing him skeptically) Hickman, you do look…prosperous.
Hickman: (glancing around, admiring the nice office with envy) I see you've done well.
In fact, I understand you make more money in one season than I have in my
vaults. What do you say we create a partnership. (opens his brief case, gets out a
paper) With your know-how and my good fortune we could take advantage of all
this (indicates all of California).
John (takes the proffered paper, scans it): Bank loans? Land speculating? (hands it
back) There's plenty of land and money here for everyone to have a share.
Hickman (turns sullen as he puts paper back into briefcase) When I heard you were rich,
I thought you'd learned a thing or two, but now I see you haven't changed at all.
John: And, neither
have you, I'm sorry to say. (pulls his pocket watch out, checks the
time) Time is money, Hickman. And my money comes from working. Good
day. (:50)
Lights dim on John, follow action of Hickman.
Sound: Begin music:
Hickman (exits from office angrily) You'll eat those words John Horner. You certainly
will! (Stops at a bench on the street and reopens his briefcase)
THAT JOHN HORNER THINKS HE'S FINE.
DIDN'T GET HIS POCKET CHANGE FROM A MINE.
(pulls
out a paper from his pocket, begins to scrawl a few words)
WELL, AT THAT GAME TWO CAN PLAY.
I'LL GET MY POCKET CHANGE ANOTHER WAY!
(passing people on the street as he heads toward a meeting with some
politicians
and land speculators)
LINING MY POCKETS WITH SOMEONE ELSE'S TOIL.
(looks over
a passerby)
SNATCH IT HERE AND THERE. PEOPLE UNAWARE.
WITHOUT DIRTYING YOUR HANDS IN THE SOIL.
LINING MY POCKETS HAS ALWAYS BEEN MY CREED.
A GOOD DEED A DAY IS WHAT YOU SAY? (indicates the paper in hand)
I RECOMMEND, PLAIN OLD GREED!
HORNER GIVES HIS MONEY TO EVERYONE IN NEED,
BUT IF FALSE DEEDS SPRING UP LIKE WEEDS,
WHERE'S HE
GOING TO PLANT HIS POTATO SEEDS?
Hickman: (spoken as he holds out the phony deeds to John's land)
Prime land for sale! Fenced and planted!
Passerby, a husband and wife. (Stops to see what Hickman has to offer, looks
at the cost of the loan)
Woman Passerby: That price is outrageous!
Hickman: (dangling the deed tempting him/them) On the contrary! Wire fencing, a
thousand a mile for the previous owner. It's a steal…truly![32]
Hickman: YOU HAVEN'T GOT A LOT? I'LL TAKE ALL YOU'VE GOT.
YOU'LL BE OVERJOYED WITH WHAT YOU'VE BOUGHT.
(waits while passerby signs the
loan and takes the deed. Hickman
collects the
cash)
I'LL TAKE MY SHARE OF LIFE BEFORE THE RAIN
BEFORE THE ECONOMY GOES DOWN THE DRAIN.
LINING MY POCKETS WITH SOMEONE ELSE'S TOIL.
WHO'LL WIN OUT IN THE END? LET ME TELL YOU FRIEND.
A-VAR-I-CIOUS ME!!!!!!!
Hickman: (enters his
“office” are and snaps his fingers—immediately an assistant brings
desk
and chair. Hickman whispers to a man he
knows, gives him a paper, and sends him to John) And now, Mr. Horner, let’s see if you take the bait.
Lights: Brighten in Horner’s office as stranger arrives. Darken rest of stage.
Stranger: (enters John’s office) Mr. Horner.
John: (working at a desk) Yes?
Stranger: I understand you were once a poor farmer.
John: That’s right.
Stranger: These days, it’s hard to get a start. Land’s expensive.
John: So I’ve discovered.
Stranger: I can get a loan from the bank if I just find a respected businessman to
sign for me. Would you do that?
John: (touched by the man’s need) Why not. I needed a helping hand once. (he signs)
Stranger: Oh thank you! Thank you.[33] (leaves Horner, heads for Hickman)
William II: (near one of fences, nearly
gets attacked. He races to John’s
office)
Meanwhile office
runner brings in stack of mail.
John: (opens the mail)
William: (having run from the farm fence, enters office breathlessly) Some squatters
broke into another section of the farm. They won’t leave. They said
they bought the land.
John: (writes out a message, hands it to the runner) We’ll get the sheriff on it.
William: (shakes his head, disgusted) Who was that man that I saw leaving here?
John: I don’t know. A man needing help. Like all the others.
William: Others?
John: We should help needy people, William. It doesn’t hurt, does it?
William: I guess not. But John, you hand out money to every indigent person who
comes by. You can’t do that forever.
John: It’s just
money. I can always work harder and
make more. (picks up a letter on
the desk) Look, William, Brigham Young wrote me a letter.
Wm: Yes?
John: He says, “Get out of debt, while times are good, and keep out.”[34] Suggests we set
aside cash in case we have a few bad years. We ought to do that.
William: But we have plenty of money. Business is multiplying.
John: So are the squatters. (Sets the letter down where it falls off the desk, forgotten.)
(1:35)
Lights: Up on Hickman, soft light on “fences”, down on John Horner’s office
(Stranger has returned
to Hickman. Hickman congratulates him,
takes the paper, then snaps his
fingers--squatters appear and climb fences.
In the background you see a squatter come onto one of Horner’s
properties, they push away the workers and take over. Workers try to get it back.
They pantomime a fight.
A group of business men arrive to converse with Hickman. One of the is the professor. They bring in papers to discuss. They proceed to plan the future of California around Hickman’s office table.
Politician: Well, gentlemen, with miners pouring in by the hundreds, it's time for
us to get a piece of that California gold.
Land Speculator: You don't expect us to go grubbing in the dust like the hoards out
there?
Hickman: Well, sirs. That… won’t be necessary. (:15)
Sound: Begin Good Old Fashioned Way
SONG No. 20: THE GOOD, OLD FASHIONED WAY - sheet music
(4:27)
THE LOANS THAT WE WILL OFFER
AT AN INTEREST RATE QUITE LOW,
AT A NUMBER SO ATTRACTIVE
WHO WOULD THINK TO TELL US NO.
OUR SERVICE TO OUR NEIGHBORS WILL COME BACK TO US SOMEDAY.
WE’LL GET RICH THE GOOD OLD FASHIONED WAY!
THEY CAN BUY THEMSELVES A MINE
OR A HOUSE. THAT WOULD BE FINE!
THEY WILL SLEEP TO DREAMS OF GREAT PROSPERITY,
BUT THE SMALL PRINT ON PAGE NINE
WILL MAKE THE LAST LAUGH MINE.
EVERYTHING WILL BELONG TO ME!
Lights up on John, dim a little on Hickman
(Meanwhile in John’s office…he is pacing, worried)
Sarah Elizabeth (runs in hugs her daddy). Daddy!
Elizabeth (entering on John's previous line with her child, picks up paper off desk, glances it over, then asks): John, what is this?
John: Someone is making false deeds and selling our land to unsuspecting buyers.
Elizabeth (Intercedes with a sigh as they both try to console their son.) Oh, John.
Sarah Elizabeth: (clinging
to Daddy, getting in the way)
Brother William: (attempting to help) I’ll see what I can do. (taking Sarah by the hand)
Sarah Elizabeth, come with Uncle William.
(He leaves child with old
Mrs. Horner, then we see him approach the squatters,
run
them off. They just return when he
leaves).
Lights back to full on bankers.
Bankers and
Politicians stroll down the street, surveying the results of their planning:
IT MAKES OUR PROFITS SOAR
TO GRIND UPON THE POOR.
WE'LL TAKE EVERYTHING THEY OWN.
AFTER ALL, THEY SIGNED THE LOAN.
IF WE LEAVE THEM IN DESPAIR.
IT IS NOT OUR PLACE TO CARE.
A justice of the court passes them.
They tip their top hats as they sing:
WHAT WE DO IS LEGAL ALL THE WAY!
John: (hands another set of letters to runner. Another one arrives with a note) Oh, no!
Elizabeth: (very worried) Now what?
John: Look at this! (hands it to her with a sigh, turns away, visibly disturbed, shaking)
I can’t believe it!
Elizabeth: (she reads, then looks up) You mean the state is charging us tax on land the
squatters have stolen?
John: They don't care about our problems.
They just care about collecting their taxes.
. (Goes to his
desk. We see the piles of papers
getting higher. Elizabeth and
John start going through the
papers. They are both very worried.)
Bankers continue song, posting default notices on John’s fences
Via their own office boys:
IF THE DEBTOR'S IN DEFAULT
THAT IS CLEARLY NOT OUR FAULT
THE CONTRACT WILL BE BINDING, CERTAINLY!
IF THE DEBTOR HAS NO COIN
AS IT SAYS HERE ON PAGE NOIN
WE CAN SEIZE ALL HIS PRO-PER-TY
Father Horner: (enters) I’m sorry to intrude, but I just heard that the banks are serving
notice on their loans. Hundreds of businesses are failing.
Elizabeth: (reacts with fear and astonishment) But, why would they call in their loans?
The banks are stuffed to the brim with gold.
John: No! Of course not! (not realizing the implication) All I’ve done is try to give new
folks a start. (thinking on this) Signed a few notes.
Elizabeth: Notes? What does that mean?
(We see Father Horner, John and Elizabeth as if in animated, nervous discussion)
Bankers congratulate themselves, continue to foreclose:
THEY CAN BUY THEMSELVES A MINE
OR A HOUSE. THAT WOULD BE FINE!
THEY WILL SLEEP TO DREAMS OF GREAT PROSPERITY.
BUT THE SMALL PRINT ON PAGE NINE
WILL MAKE THE LAST LAUGH MINE.
EVERYTHING WILL BELONG TO ME!
WE’LL GET RICH THE GOOD OLD FASHIONED WAY![35]
(banker friends exit)
Lights: off on
rest of stage, remain on for John’s office)
Hickman (enters): Excuse me. I believe this was the J. M Horner Company.
John: Is J. M Horner & Company.
Hickman: I have news for you. (officiously hands him an envelope)
John: (opens) What is this? I don’t owe you any money.
Hickman: One of those notes you signed. The man’s business failed. You owe
$7,000. I have dozens more like that one. You owe a fortune.
Elizabeth: (incredulous) Hickman, you threw that man out of his business?
Hickman: That’s no concern of yours, Madam.
John: (stiffly) I can pay you as soon as I sell my crop. This year is my best ever.[36]
Hickman: You don’t understand. There is no money to buy anything.
John: (astonished) No money? Your bank is full of gold.
Hickman: Gold I’ll take. Carrots and Potatoes, I won’t. You could borrow from me….
John: What about a mortgage on one of my properties? We paid 290,000 for this one
(holds out a paper).
Hickman: I might loan you…uh…(as if generous) 48,000.
Elizabeth: Only 48,000?
Hickman: (Ignoring her presses the paper at John) You’ll need it, Horner. No one can
buy vegetables any more. The people are out of work, walking the streets,
penniless.
John: And what will a loan cost?
Hickman: $2,000 a month, in advance…of course, that’s just the interest.
Elizabeth: (confronting Hickman) That's outrageous!
John: (crossing between them) She said, we’ll think it over.
Hickman: If you don’t cooperate, I can take everything you own, including the house
you live in.
John: As I said, we’ll think it over.
Hickman: (mock generosity) I’ll give you until… tomorrow. (he exits as William enters)
William (enters): I can’t seem to get rid those
squatters. They just keep coming. (looks
around) Why the long faces?
Mother Horner and Mrs. Kenfield, children arrive. .
Mother Horner: (enters, arm around Mrs. Kenfield) John, William! It’s terrible what’s
happening. The banks are taking everything. Mr. Kenfield shot himself in the
head when they came to drive him out.[37]
Mrs. Kenfield: (she is crying) I don’t know what to do. One minute we were
working hard, things were fine. The next minute our business was closed. Jeb
couldn’t face it. Nothing left. Not even a roof over our heads! And he…
(she can’t finish, overcome by emotion).
John: (to son) William, go fetch some food for Mrs. Kenfield, quickly.
Hickman (now assigns workers to put his Hickman Bank signs on John's fences.)
Wm jr.: Yes,
sir. (exits)
Mrs. Kenfield: Can we stay with you?
Elizabeth: I’d like to say yes, but I don’t know how long our roof will be there. The
banker came to us today.
Mrs. Kenfield: Not you! But you are one of the largest businesses in the state.
John: Not any more, it seems. Not any more! (2:25)
Lights black out
Lights come up and we see the errand boys now
working for Hickman. They rapidly empty
John’s office leaving only the desk and a chair behind it. Banker is there, ordering the errand boys to
remove the equipment. John and
Elizabeth arrive, stare as the boys go by.
Hickman seats himself at John’s desk, puts his feet on top languidly and
grins triumphantly at the Horners.
John: (resigned) All right Hickman, have it your way.
Hickman: (sitting up) So you’ll take my offer.
John: But $2,000 a month interest? 36 per cent?
Hickman: Money is hard to come by. (stands, dropping his façade of pleasantness, \ hands John the paper) Sign!
John: (signs it) There! (hands it over)
Hickman: (looks it over with satisfaction ) That will keep a roof over your head, but what
about these endorsements? (showing the stack) What else do you own?
John: Our steamer--paid $18,000 for it. (Holds out ownership papers)
Hickman: That will pay one of these—I’ll credit you with $7,000.
Elizabeth: That’s robbery!
Hickman: That’s business. And I’ll take your mill, your farms, your schoolhouse, and
all the rest. You are lucky
to have somewhere to sleep tonight. (grabs the rest of
the deeds from John). Boys!
Errand runners (enter)
John: (slowly removes watch and holds it out)
Elizabeth: That was my grandfather's watch!
Hickman: Mine now. (to Elizabeth) But then I warned you back in New Jersey.
(sees a paper lying on floor, picks it up)
And what is
this? A little unfinished business?
(unfolds it) Let’s see here….(begins reading)
Ah! A letter---from Brigham Young-- your prophet. Maybe he sent you a little
miracle! Let’s see…
(reading again) Get out of debt. Set aside cash! (Looks
up at John, grins
malevolently) Good advice. Too bad you didn’t take it. Maybe he is a prophet!
(takes the letter, waves it in John’s face) Sadly, Horner, no miracle here for you.
You've lost your fields. They're mine now!
(1:35)
Sound: Transition Music begins—Father's Fields.
Hickman (Crumples
Brigham's letter, throws it to the ground at John’s feet. He exits, triumphant)
John: (defeated, staggers from his former office into a single field.)
Elizabeth (clings to John who holds her as the tragic music swells in
the background.)
Horner parents,
children, relatives straggle after them.
Sound:
Music diminishes so dialogue can be heard—and pauses.
John: Come Elizabeth, at least we have one place to call our own.
Elizabeth: Until Hickman returns to collect on the debt. And he'll do it. You know that!
John: Until then, it’s back to work. (they walk further)
John (continues) Oh, Elizabeth. Can you forgive me?
John: I could have spared you this tragedy had I listened to Brigham Young.
He tried to
warn me. (:30)
Lights fade to black
Sound: Music finishes
the scene (last part of My Father’s Field)
Scene
4: John’s farmland
Scene near section of wire fence with words,
Hickman Farms. Place bucket with tin cuptied on it next to fence. John and
children, Grandma & Grandpa, toil sadly in pantomime. As they work, John catches his arm on a
piece of wire. Signs saying Hickman
Enterprises are now on everything in sight.
There is not a lot of dialogue here—the focus is on the action you see.
AV20a. (words) In a field leased from Hickman
|
AV20b. Plowed Field Lights up on field scene |
John: (In pain) Ah!
Wm jr.: Father, you’re hurt!
John: (looks at puncture) It’s nothing. That wire decided to burrow into my arm.
Elizabeth: (wiping her face in exhaustion) Maybe we should stop. We’ve been at this all
day.
John: If we don’t work, we don’t eat.
Daughter Sarah Elizabeth:
Oh! Mama! (swoons and passes out. She was
actually 2
years
old, but for purposes of the play, she can be a few years older)
Elizabeth (rushes to her): What’s the matter, dear? (Rubs her face, hands.)
John, she’s very hot. Go fetch some water, William. (the son)
(Eliz. fans her with
her
own bonnet)
Wm jr. (dashes out).
Other children: (gather around Sarah, ad lib.)
John: She’s scarcely breathing!
Elizabeth; Sarah Elizabeth, Sarah!.
Sarah: Mama! (very faint)
Wm jr.: (returns with cup of water) Here.
Elizabeth: Drink
this. We need to cool you off. (holds
the cup to her lips, but the girl is
dead). (Audible
gasp)
John: (takes the cup, hands it back to Wm.,
crumples by his only daughter, taking her
hands, buries his head on those little hands and sobs) Oh Sarah, Sarah!
Family moves off to
side, in a huddle of grief. (:55)
Lights dim on them, center on Elizabeth.
Sound:
Song No. 21: LOSS
(2:54) - sheet music
Elizabeth (holds her daughter in a passionate embrace,
rocking back and forth in pain,
then looking up, as if trying to reach into heaven) Oh, God! I can’t bear this.
It’s too much![38]
Elizabeth: (clutching herself for comfort)
LOSS IS SUCH A HEAVY THING--
SO HARD TO SAY GOODBYE.
I THOUGHT I'D MISS THE FIELDS OF GRAIN,
OUR LOVELY HOUSE, THE TREE LINED LANE.
OUR HOPE OF SAVING THEM WAS VAIN.
NOW SARAH'S DEATH, THE FINAL STRAIN.
MY FAITH IS TREMBLING AGAIN.
MY FACE IS WET WITH FALLING RAIN
THAT TUMBLES FROM MY EYE.
WHY DID SHE HAVE TO DIE?
Stage Crew:
turn fog machine on for angelic entry.
Laura Goodwin dressed in white enters, reaches out her hand. The family have bowed heads and do not have
eyes to see. Laura first comforts
Elizabeth
Lights:
special to make Laura appear as if from heaven.
YOU HELPED ME ONCE, MY CHILD TO LOVE.
NOW GOD HAS SENT ME FROM ABOVE
TO SOOTH THE TEARS THAT FALL LIKE RAIN,
FOR YOU WILL SEE YOUR
CHILD AGAIN.
Laura: reaches for Sarah who rises and takes Laura by
the hand. As the leave, Sarah turns to
get one last glimpse of her mother, runs, kisses her, then returns happily to
Laura, waves goodbye as lights fade out.
Lights
fade to black as angel begins to move away from Elizabeth.
Stage Crew: Fog machine needs to turn off in time to
dissipate by end of scene.
AV21 blank screen.
Stage Crew set bed, flats
Lights when scenery is ready, up on bedroom scene.
Mother Horner: (enter, the children just behind them, finds John seated on his bed, rubbing his arm)
Wm Jr. Hi Papa!
John: (rubbing his arm, trying to get cramp to release)
[tetanus causes severe muscle cramps, some later stages the stricken person will arch up on the bed when one of the cramps hits]
Children: (ad lib) Papa! What’s the matter?
John: (groaning through clenched teeth) I don’t know. Just a bad cramp.
Mother Horner: Someone, fetch a Doctor. Quick!
Wm, jr. (runs out)
Mother Horner: (grabbing his hand and pullings, rubbin) Maybe it will realease.
John: (in great agony) AGGGH!
Elizabeth (rushes in, having heard him wail in pain, stands staring—in a choked voice)
John! What? What’s happening. (rushes to John)
Mother Horner: (letting go, say this on top of Elizabeths line above) Hang on, son. Help
will be here
soon. (:20)
Lights fade out.
Family reconfigure around John to show passage of time.
Light up on Elizabeth and Doctor, who are standing a
little apart from the rest. John’s
bedroom
is dark. John is now lying in the
bed. Cramps have spread from one
arm
to another part of the body.
Doctor:: It’s not good, Sister Horner. He’s got tetanus.
Elizabeth: What chance does he have?
Doctor: (looks down, takes deep breath) Next to none.
Elizabeth: Oh, please, doctor. Can’t we bathe the wound, apply poultices…
Doctor: Sister Horner, I would love to tell you that those things would help, but they
won’t. The poison is inside, growing, causing his muscles to cramp. Those
spasms will become worse everyday. Once the muscle cramps, there's no relief
until the muscle’s completely spent. But as soon as it recovers, the spasm will
return again. The pain is excruciating. It would be better if God took him, than to
endure the agony he will suffer. Pray for his death. I’m sorry! (he leaves)[39]
Parents: (come to Elizabeth) What happened?
Wm jr. What did the doctor say?
Elizabeth: (trying to be brave) That your father will suffer a lot of pain and we need
to keep him comfortable.
Wm jr.: Who will run the farm? What will we do without papa?
William: I’ll take over, young man. But I’ll need your help. Need everyone.
Except your mother. She must care for John.
Wm jr.: Isn’t there anything that we can do?
Mother Horner: (wraps them in loving arms while Father comforts Elizabeth) You can
pray. (1:00)
Lights: up in small
circle on John while dimming on the previous family group.
Music segues into
prayer, family members embrace each other for comfort. John
begins a desperate
prayer, begging for help.
Song No. 22: Test of Faith - sheet music
John: OH, DEAR FATHER, HEAR ME NOW.
IS THERE HOPE FOR ME? PLEASE, SHOW ME HOW.
IF I LEAVE THEM, WHAT ARE THEY TO DO?
WHERE ARE THEY TO GO? HOW WILL THEY GET THROUGH?
Elizabeth: (enters during last part, comes to his side)
OH, MY DARLING, DO NOT GO.
HOW CAN YOU LEAVE ME? I LOVE YOU SO!
IF GOD TAKES YOU, TAKES YOU FAR AWAY.
HOW CAN I GO ON, WHEN I HAVE TO STAY?
Duet: MY BELOVED (OH, MY DARLING) I WON'T GO (DO NOT GO!)
I WON'T LEAVE YOU (PLEASE DON'T LEAVE ME)
THIS I KNOW (I LOVE YOU SO!)
John: GOD WILL GUIDE ME THROUGH THIS VALE OF PAIN.
Both: HE HAS SUFFERED MORE THAN THIS
John: I'LL BE WHOLE AGAIN.
(John groans,
collapses from pain as music blends into Father's Field. His wails of
agony punctuate the rest
of the number until Father Stacey comes to pray for
his release).
Elizabeth (rises, unable to watch, unable to bear his pitiful cries):
FATHER IN THE HEAVENS
HEAR THY DAUGHTER'S PLEA.
PLEASE SPARE MY LOVE. GIVE HIM BACK TO ME!
Mother Horner: (enters, places arms around Elizabeth, pulls her away)
as John is wracked with another
spasm.)
Music continues,
growing in exquisite agony of sound.
Horner family: (slowly gather in as John is muscle by
muscle , excruciatingly debilitated)
Others enter:
(those whom John has known and helped also come to pay their respects.
Thus
we are gathering people for the finale)
Father Horner: Elizabeth, don't keep him here any longer. Daughter, let him go!
Elizabeth: (nods, but is too grieved to speak)
Father Horner: (places hands on John's head)
FATHER, SEE THY SERVANT AS HE LIES IN PAIN
LORD, TAKE MY SON, SO HE CAN RISE AGAIN.
OH THAT THOU WOULDST SPARE HIM THIS DREADFUL AGONY!
THY WILL BE DONE…..
Music changes,
interrupting his prayer of release, melodic lines soar skyward with passion.
Stage Crew:
Fog machine create clouds on stage.
AV 22 Heavenly Sky
Then reaching a high
pinnacle, they hover, shimmering in the air as a light appears on various
people dressed in white—the prophet Joseph, Laura Goodwin, those who lost their
lives on the Brooklyn, little Sarah Horner, others of Nauvoo who died
from the mob violence[40].
Lights fade down on family, rise in intensity on the heavenly visitors, making visitors seem made of light in comparison. Joseph comes nearer as he sings:
Joseph: GOD HEARD YOUR PRAYERS AND SENT ME HERE
THIS TRUTH TO BEAR, THAT HE IS NEAR.
YOUR TIME TO DIE HAS NOT YET COME,
YOUR WORK ON EARTH IS NOT YET DONE.
YOU CARED FOR THEM, YOUR FELLOW MEN,
YOU GAVE THEM HOPE TO LIVE AGAIN
BECAUSE THY LIFE TURNED OUT TO BE
LIKE HIM WHO WALKED IN GALILEE,
HE SENT THESE WORDS. OF PAIN, BE FREE.
MY SON, YOU'VE DONE IT UNTO ME.[41]
Joseph: Be thou healed. In the name of Jesus Christ, rise up, John Horner. You… shall
walk… again. (he steps back.)
Light stays
focused on John and his withered hands while lessening on Joseph and other
angelic beings)
Elizabeth: (looks up, sees John's withered hand release it's pain induced grip) Look!
Family: (stare with amazement)
Elizabeth: caressing the hand, kisses it tearfully)
Music swells to a climax and hovers in quiet reverence while the spirit people back into the darker section of stage, up center. They do not leave, but are like shadows now.
(5:52)
Scene
5b: Lights come up full on Horner Interior, widen to include next
conversation.
On stage we see John
open his eyes and look at his family.
Each family member
gives him their love,
he continues to improve as dialogue continues.
Elizabeth:
(walks joyfully to share the good news with others on stage.
Mrs. Kenfield: Elizabeth! What’s happened?
Elizabeth: John’s hand, it moved. He’s going to be well. The doctor says it will take
months, maybe years. But he may even be able to walk again!
Mrs. Kenfield: Oh, my dear. (giving her a joyful hug) Oh, it’s wonderful! (:15)
Mrs. Kenfield: (Spreads
the news to the rest of cast. Word
spreads visibly as final song
begins.)
Lights on John and Elizabeth, family fathering, dim for rest of stage.
John, still recuperating, his family around him, is now attempting to sit up once again
John: THERE ARE TIMES WHEN YOU CANNOT SEE THE ANSWER.
Elizabeth: THERE ARE TIMES WHEN CONFUSION BLINDS YOUR MIND.
John: THERE ARE TIMES WHEN YOU NEED TO CHOOSE
A PATH THROUGH THE DARK,
Elizabeth: AND YOU LONG TO FIND HIS LIGHT.
Elizabeth: THERE ARE TIMES WHEN THE CHOICE IS GOOD OR EVIL.
AND YOUR CONSCIENCE IS YOUR GUIDE.
John: BUT AT TIMES THE CHOICE IS NOT AS CLEAR AS NIGHT OR DAY
WHEN THE SHOUTING OF THE WORLD
WOULD SILENCE THOSE WHO PRAY.
Both: WHERE DO I TURN TO FIND THE ANSWERS?
HOW CAN I FACE THIS VEIL OF TEARS?
WHO HAS THE STRENGTH TO LEAD ME ONWARD?
Antiphonal Choir: JESUS, SAVIOR. HE IS NEAR.
WHO WALKED THE PATH OF DAILY SORROW
WHO COMES TO COMFORT WHEN I FEAR?
WHO GAVE HIS LIFE TO FREE MY SPIRIT?
Antiphonal Choir: JESUS, SAVIOR. HE IS HERE.[42]
Lights widen to cover cast who are entering for finale. Grow brighter and brights as everyone sings the finale.
Antiphonal Choir repeats the refrain. Other cast members join in singing.
WHERE DO I TURN TO FIND THE ANSWERS?
HOW CAN I FACE THIS VEIL OF TEARS?
WHO HAS THE STRENGTH TO LEAD ME ONWARD?
JESUS, SAVIOR. HE IS NEAR.
WHO WALKED THE PATH OF DAILY SORROW
WHO COMES TO COMFORT WHEN I FEAR?
WHO GAVE HIS LIFE TO FREE MY SPIRIT?
JESUS, SAVIOR. JESUS, SAVIOR, HE IS HERE.[43]
Others of the cast
enter during their duet and while they repeat the refrain, we see John helped
to his feet. By end of number he
releases those who are holding him up and haltingly takes a few steps to show
that one day he will walk again.
Student Isaac and Professor, come back to library area
for curtain call. Professor agrees that
it is a good topic.
The End (Total Act II: 33 minutes)
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Children of
Stacy Horner
(Oct 15, 1894 – Aug 17, 1862)
Sarah Johnson
(Dec 25, 1796 – Jan 20, 1890)
1. Zilpha April 11, 1816 - ?
2. Alfred Mar 25, 1818 - ?
3. Fanetta Mar 2 1820 – Jan 20, 1898 (Came to CA in 1852?)
4. John Meirs June 15, 1821 (NJ) – May 14, 1907 (HI) (Came to CA on Ship Brooklyn 1846)
Married Jan 20, 1846 Elizabeth Imlay Jan 30, 1826 (NJ) – July 7, 1901 (HI)
(daughter of Thomas and Margaret Imlay)
Children: 1. William Dec 26, 1847 (Nr Mission SJ) – Jan 15, 1925 (Oakland CA)
Married May 20, 1874 Katherine Elinor Girvin (Oakland CA)
Apr 14, 1849 (Canada) – July 6, 1920 (Oakland CA)
Children: 1. Kate Elizabeth June 17, 1875 (Livermore CA)
2. James Louis May 8, 1877 (Wailuku, Maui, HI) – Apr 22, 1949
3. Edna Margaret Jan 19, 1884 (Hamakue, HI) Married Fred Matthiesen
2. John Dec 9, 1849 (CA) – Dec 15, 1849
3. Joseph John Dec 8, 1850 (CA) – May 24, 1912
Married Mary Jane Blacow Oct 1, 1849 – July 27, 1912 (B. St. Louis MO, came to
CA in 1854)
Children: 1. Alfred Eugene Oct 6, 1875 (Centerville, CA)
2. Olive Rosabelle Feb 11, 1877 (Centerville, CA)
3. Arthur Garfield Sep 1, 1880 (Spreklesville, Maui, HI)
4. Joseph John, Jr. Feb 1, 1883 – April 15, 1884
5. Ethel Viola Horner Coulter Jan 1, 1885 (Kukaiau, HI)
4. Sarah Elizabeth Oct 12, 1852 – June 6, 1854
5. Jacob Apr 29, 1856 – abt 1872
6. __________
7. Lillie Ann June 9, 1858 – June 9, 1858
8. Josephine Sep 16, 1859 – Oct 25, 1952
Married Charles Richard Blacow Dec 10, 1854 – July 12, 1909
Children: 1. Chester Earl Dec 13, 1883 (Kukaiau, HI)
9. Jay M. Sep 30, 1861 – May 21, 1895
Married Annie Bryan died in 1914
Children: 1. Howard Bryan May 19, 1888 (Kukaiau, HI)
2. Mildred Imlay Sep 1890 (Kukaiau, HI)
10. Albert Aug 7, 1863 (CA) – May 18, 1930 (HI)
Married Jan 20, 1891 Florence Winter (Honolulu, HI)
Children: 1. Albert
2. William Foster
11. Robert Sep 11, 1866 (CA) – bet 1932-35 (Honolulu HI)
Married 1897 Amy Adele Blacow (HI)
Children: 1. Carroll Weeks
2. Elizabeth Emily Horner Howe
3. Clarence Alvin
4. Florence Amy
5. Anita Marjorie
6. Harold Richard
7. Anna Josephine
8. Robert, Jr.
12. Ann Sep 11, 1866 (twin) – died in Oakland
Married June 5, 1905 Dr. Frank Woodland (HI)
5. Redbon C. Mar 2, 1823 - ?
6. Elizabeth Ann Oct 22, 1825 (NJ) – Mar 1922 (CA) (Came to CA in 1852)
Married William Hopkins Feb 16, 1829 – Oct 1, 1899 (CA)
Children: 1. Alfred Mar 13, 1853 – Jan 13, 1854
2. John Franklin Jan 1, 1855 (CA) -
Married Jan 1, 1878 Adah Alice Hudson Aug 22, 1861 –
3. Clara Agnes Mar 27, 1858 (CA) – Feb 9, 1879
Married Jan 28, 1877 William Allen Mar 18, 1856 –
4. Joseph Allen Aug 22, 1860 -
Married Mar 4, 1880 Fannie L. Smith Aug 4, 1863 –
5. William Alexander Jun 21, 1867 –
Married Nov 7, 1886 Julia Elizabeth Clum Jun 6, 1867 –
7. William Yates Oct 14, 1830 or Oct 21, 1827 (NJ) – Feb 27, 1898 (HI) (Came to CA in 1850)
Married Nov 27, 1852 Ann Imlay (N.J.) July 30, 1832 - ? (Alameda Co. CA)
(daughter of Thomas & Margaret Imlay)
Children: 1. Mariana Nov 28, 1853 (CA) – Sep 25, 1931
2. William Yates, Jr. May 19, 1855 (CA) –
Married Nov 26, 1879 Lizzie Hilton who died July 3, 1881
Children: 1. Ray Starr July 17, 1880 (Maui, HI) – Aug 30, 1890
Married Dec 11, 1900 Carrie
Children: 2. Ehheline Oct 13, 1901
3. Charles Frederic Nov 11, 1858 (CA) - ? (Oakland)
Married Aug 3, 1883 Sarah Lowrie Decoto - 2nd marriage Austin Waldron
4. George Henry Nov 11, 1858 (CA) - ? (Kern Co. CA)
5. Sarah Aug 12, 1863 (CA) – Nov 27, 1932 (CA)
Married William Decoto
8. Roulif Johnson Oct 14, 1830 (NJ) – Feb 17, 1901 (Came to CA 1852)
Married Dec 29, 1858 Rebecca Brown Mar 6, 1834 – July 1903 (b. Crosswidkes, Burlington Co,
N.J.)
Children: 1. Julia Brown Oct 9, 1859 (Irvington CA) – Dec 27, 1864
2. Benjamin Stacy Apr 19, 1861 (CA) – July 4, 1896
3. Joseph Mayhew June 13, 1863 (CA) –
4. Alice Virginia Aug 2, 1868 (CA) – Oct 21, 1932
Married John A. McLennan (b. HI)
Children: 1. Ronald (HI)
5. Grace Ann Apr 1, 1870 (CA) – 1927
Married Dec 22, 1900 Charles A. Langon
9. Emmeline Feb 14, 1832 - ?
10. Edward Woodward Apr 20, 1838 – Apr 11, 1902 (Came to CA in 1852)
Married Nancy Harwood who died Mar 17, 1889
Children: 1. Edward Thomas 1859 –
2. Alfred William Feb 3, 1861 -
3. Dellivan Erasmus Aug 19, 1862 -
4. Stacy Lincoln
5. Mary Nov 28, 1862 ? –
Married Oct 3, 1885 Gustave Riedel
Children: no data
6. Raymond
7. Grant Apr 6, 1871 -
8. Blanche Feb 5, 1874 -
9. Ralph Nov 1875 – July 1876 -
10. Ida May 29, 1877 -
Married Aug 29, 1901 Arthur Knight
11. John
12. Clarence Feb 13, 1881 – July 7, 1882
13. Gustave Jan 18, 1886 – Mar 1886
14. Maude Apr 2, 1887 –
Married H. E. Tean
Two children born in N.Y.
SHIP BROOKLYN PASSENGER LIST
* Died at sea (12) + Born at sea (2) [ ] Age at time of voyage
ADDISON, Isaac. [36], wife Eliza [33], children: daughter.
ALDRICH, Silas* [43], wife Prudence Clark [43], children: Jasper, Nancy Laura [17] (married 1st Alondus BUCKLAND,
2nd James BUCKLAND.)
ATHERTON, William [32], wife Emily [27].
AUSTIN, Julius Augustus Caesar [36], wife Octavia Ann Lane [32], children: Louisa Maria [7], Edwin Nelson [5],.
Newton Francis [2].
BIRD, Elizabeth Wallace [1 mo]. (traveled with Stark, father went overland)
BRANNAN, Samuel [27], wife Anna Eliza Corwin [24], child: Samuel, Jr. [2 mo].
BUCKLAND, Hannah Daggett [43], sons: Aldonus de Lafayette [20], James Daggett [18].
BULLEN, Newell [37], wife Clarissa Judkins Atkinson [35], children: Francis Andrew [8], Hershel [6],
Cincinnatus [3].
BURR, Nathan [58], wife Chloe Clark [50], sons: Amasa [34].
BURR, Charles Clark [29] (son of Nathan & Chloe), wife Sarah Sloat [24], children: Charles Elias
Washington*, John Atlantic+.
CADE, Jonathan [64], wife Suzannah [58].
CLARK, William Swires, sister Sophie Patterson CLARK [22].
COOMBS, Abraham [41], wife Olive Curtis [26], children: Katherine [12], Marion Charles [5],
Helen Mars [3].
CORWIN, Frances M. [42] (Mother-in-law of Samuel BRANNAN.)
EAGAR, Lucy Buell [42], children: John [23], Mary [18], Thomas [16], Arabelle [13], William [10].
ENSIGN, Elias*, wife Jerusha [36], children: Eliza*, John, Warren [18].
EVANS, William [34], wife Hannah Benner [34], children: Amanda [12], Jonathan Benner [8], Parley Pratt [6], William H. [4]
FARNSWORTH, Alphonso. (Uncle of Laura Farnsworth SKINNER.)
FISHER, Joseph R. [24], sister Mary Ann FISHER [23].
FOWLER, Jerusha [27], children: Thomas [8], George [6], John Jr. [4], baby son*.
GLOVER, William [33], wife Jane Cowan [29], children: Jane [8], Katherine [4], Joseph Smith [1].
GOODWIN, Isaac [35], wife Laura Hotchkiss* [33], children: Emerette [13], Isaac Hotchkiss [11], Lewis Hotchkiss [9],
Edwin Abijah [6], Nancy Ellen [4], Lucinda Ludelia [3], Albert Story [1].
GRIFFITHS, Jonathan [32], wife Sarah [32], sons: Jackson, Marshall.
HAMILTON, Mary [56]. (Mother-in-law of Quartus SPARKS).
HASKELL, Ashbell Green [48].
HAYES, Jacob [52].
HICKS, Joseph [36].
HORNER, John Meirs [25], wife Elizabeth Imlay [20] (not LDS).
HYATT, Elisha [30], wife Matilda [35], son: Caleb. or John {16].
IRA (IREA), Cyrus [22].
JAMISON, John Reed Clark [4]. (Son of Hannah Tucker REED.)
JONES, Isabella [38].
JOYCE, John [24], wife Caroline Augusta Perkins [21], child: Augusta [1].
KEMBLE, Edward C. [19].
KITTLEMAN, John [50], wife Sarah [38], sons: Thomas [27], George, William (see below).
KITTLEMAN, William [39], wife Eliza Hindman [34], children: Elizabeth Jane [14], Mary Ann , James, George,
Sarah [4 mo] & twin Hannah [4 mo].
KNOWLES, Richard [58], wife Sarah Rostirn [54], children: Thomas, Caroline, Sarah.
LADD (alias Johnson), Samuel [27]. (Major)
LANE, Emeline Armanda [21], (youngest sister of Octavia Austin).
LEIGH, Isaac [27], wife Achsah [24], son: Albert.
LIGHT, James [36], wife Mary Jane [26], daughter: Mary Elizabeth.
LINCOLN, Seth.
LOVETT, Angeline M. [19]. (Married Thomas KITTLEMAN.)
MARSHALL, Earl [47], wife Letitia Dorsey [47].
MARSTON, Edward, wife Sarah Still (daughter of George STILL.)
McCUE, Patrick [55], wife Esther [43], sons: James B. [15], Solomon B. [6], Amos W. [3], William K. [1].
MEDER, Moses A. [42], wife Sarah D. Blod [40], duaghter: Angeline [13].
MOSES, Ambrose Todd [51], wife Lydia Ensign [46], children: Norman S. [15], Pheobe Maria [14],
Ann Frances [12], Clarissa Cordelia [7].
MOWREY (Morey), Barton [47], wife Ruth Walkup [47], sons: Origan [21], Eugene Rhanaldo [18].
MURRAY, Mary [36].
NARRAMORE, Edwin*, wife Mercy M. [45?], children: one son*, Edwin, Jr. (Disembarked in Hawaii.)
NICHOLS, Joseph [31], wife Jerusha Bull [27], sons: Enos [2], Joseph* [2 mo].
NUTTING, Lucy Jane [20].
OAKLEY, Howard.
PELL, Elijah Ward [40], wife Mattie or Seba {45], daughters: Hettie, Geraldine.
PETCH (Petz), Robert [50], wife Mary [42], children: Salina [11], Richard [6].
PHILLIPS, John [33].
POOLE, Mary Crammer [57], children: Robert William, Elizabeth Margaret Frances [24], Peter John [23],
Hester Elvira.
REED (Read), Christianna Gregory [45], children: Hannah Tucker Jamison [24], Mary Ellen, John H. [17], Christianna Rachel [15].
ROBBINS, Charles [31], (brother to Isaac and John).
ROBBINS, Isaac Rogers [41], wife Mary Ann Shinn Burtis [35], children: Joseph Reeves [12],
Wesley Burtis [5], Margaret Burtis [2].
ROBBINS, John Rogers (Dr.) [36], wife Phebe Ann Wright [34], children: Charles Burtis [11], George
Edward* [6], John Franklin* [1], Georgiana Pacific+.
ROLLINS (Rowland), James Henry [55], children: Isaac [17], Jane (wife of Thomas TOMKINS.0
SAVAGE, Susan Eliza [20].
SCOTT, James [34].
SIRRINE, George Warren [27], ( brother of John, married Emeline Amanda LANE.).
SIRRINE, John [34], wife Nancy Smith [26], son: George J. [1], (went for health, not LDS).
SKINNER, Horace Austin [28], wife Laura Ann Farnsworth [26], son: James Horace [4].
SMITH, Orin [40], wife Mary Ann or Amy Ann Dodd Hopkins [35], children: Henry M. [14], Eliza or Ellen
M. Hopkins[10], Amelia A [9], Emily M. Hopkins [7], Frank or Francis [3], Orrin Hopkins [6 mo] (died in
Hawaii where they disembarked).
SMITH, Robert [33], wife Catherine Clark [28], children: Daniel Clark [2], Hyrum Joseph [1], Mary
Catherine.
SNOW, Selnora [22], (Married William Glover.).
SPARKS, Quartus Strong [25], wife Mary Holland Hamilton [24], son: Quartus Strong, Jr. [8 mo].
STARK, Daniel [25], wife Ann Cook [24], son John Daniel [4 mo].
STILL, George [65], wife Mary [41], daughters: Laura, Julia, Sarah.
STIVERS, Simeon [20]. (Nephew of Earl & Letitia MARSHALL.)
STOUT, William [30], wife Mary Ann [18], child: Malone ?.
STRINGFELLOW, Jesse A. [22].
TOMPKINS, Thomas [29], wife Jane Rollins [26], children: Amanda [4], Jane Elizabeth [3].
VON PFISTER, Edward (not LDS).
WARD, Frank. (not LDS).
WARNER, Caroline E. [34], (husband went overland), children: Myron, Sarah [6], Henry J. [2].
WINNER, George King H. [39], wife Mary Ann [37], children: Elizabeth [17], Mary Ann [17] (twin), Louise [15], Emmagene, Dembra [7], Moroni [3], Israel J.* [1], Sarah* [4 mo].
CREW OF THE SHIP BROOKLYN
A. W. Richardson Master and part owner
J. W. Richardson Mate (Red-headed nephew of Captain Richardson.)
James W. Haskell 2nd Mate
William Smith Steward (black)
Joseph Newbury Cook (black)
Lewis A. Wilmot Seaman
James Nichols Seaman
Curtis Child Seaman
John E. Mills Seaman
Albert Stewart Seaman
John Thomas Carpenter
William Mays Seaman
Daniel Clark Seaman
Thomas Clausin Seaman
Charles Johnson Seaman
Martin S. Penfield Seaman
Benjamin R. Austin Seaman
[1] The concept of a guiding star was important to John Horner. See “Adventures of a Pioneer, Embracing the Struggles and Triumphs of a Long and Busy Life,” by John M. Horner, Improvement Era, Vol. VII, May 1904, No. 7.
[2] John’s personal standards quoted by Carter, p. 548.
[3] Read Erastus Snow, The Life of a Missionary and Pioneer, Andrew Karl Larson, University of Utah Press, 1971, Chapter 1 – St. Johnsbury.
[4] Moroni 10:4; 1 Nephi 15:11; Enos 1:15; Matt. 7:7-8
[5] D&C 6:23, II Nephi 9:6, 13; Eph. 3:19; 1 John 3:1
[6] Erastus Snow found the building of Nauvoo to be like music, Larson, p. 63.
[7] D&C 101:16;”The Times in Which We Live,” Oct. Conference 2001 Hinkley; 1 Kings 19:12; D&C 85:6; 1 Nephi 10:17
[8] Titus 1:2; Moses 1:39; 2 Nephi 2:16, 27; “Weightier Matters,” BYU Devotional, Dallin Oaks, 9 Feb 1999.
[9] Matt. 13:3; D&C 4.
[10] Cowan and Homer, p. 23
[11] Passenger Lists: The Friend, 1 July 1846, Honolulu, HI Vol. IV No. XIII; also Hansen, pp. 69-72.
[12] See “John M. Horner…Californias First Farmer” Doyle L. Green, editor, Improvement Era, April 1951, p. 245; Hansen, p. 49.
[13] Cowan and Homer, pp. 29-30; see also Times and Seasons, 15 Feb 1846; Goodwin Family History, “The Brooklyn”, p. 160.
[14] The Mormons in California, William Glover, Los Angeles, Glen Dawson, 1954, pp. 13-14; Cowan and Homer, pp. 30-31.
[15] Glover, p. 14; Hansen pp. 52-53.
[16] California Mormons by Sail and Trail, Annaleone D. Patton, Salt Lake City, Deseret Book, 1961, p. 8.
[17] “How Firm a Foundation,” included in the first hymn collection of the church, based on Isaiah 41:10; 43:1-2; Hebrews 13:5. See also Helaman 5:12 and Stories of our Mormon Hymns, Spencer Cornwall, Salt Lake City, Deseret Book, 1963, p. 78-80.
[18] This incident was reported by letter to the New York Journal of Commerce 26 Aug 1846. Whereas the passenger who prayed with Richardson was unidentified, we allowed John Horner to represent that person.
[19] Crocheron’s account written 1888, quoted by Hansen, p. 58.
[20] Account of Augusta Joyce Crocheron, quoted in Carter, p. 506.
[21] D&C 84:88; 68:6; John 14:27; Mark 5:35-36
[22] Cowan and Homer, p. 34;
[23] Details of Storm near Valparaiso: Hansen, p. 58.
[24] David R. Crockett, "The Voyage of the Brooklyn," www.indirect.com/www/crockett/Brooklyn.html., John 11:25; further reading: McConkie, p. 637.
[25] Crocheron quoted by Hansen, p. 59.
[26] John 14:2; 2 Nephi 9:41, Luke 23:43.
[27] , “The Family,” Henry B. Eyring, Liahona, Oct. 1998, 12; “Families are Forever,” David B. Haight, Friday Afternoon Session, General Conference, October 1, 1976; “The Spirit Giveth Life,” Thomas S. Monson, Ensign, May 1985.
[28] John M. Horner, Elaine Justesen, 1991, p. 7.
[29] Patton, p. 85; Carter, p. 551.
[30] Carter, p. 552.
[31] Improvement Era, May, 1951, p. 341.
[32] Justesen, p. 10.
[33] Improvement Era, May 1951, p. 340.
[34] Carter, p. 554.
[35] Carter, p. 552.
[36] Improvement Era, May 1951 pp. 340-41.
[37] John describes the desperation and heartache people suffered during this time in Justesen, p. 11.
[38] Carter, p. 554.
[39] Interview with Dr Bill Sullivan regarding first hand experience with tetanus patient.
[40] D&C 84:42 “…and even I have given the heavenly hosts and mine angels charge concerning you.”
[41] Matt. 25:40.
[42] D&C
38:7.
[43] D&C
38:7.