My Father’s Field

Based on the life of John M. Horner,

East-Bay Pioneer

 

Script and Lyrics by

 

Melva Wheelwright

 

 

Music by

 

Melva Wheelwright

Rick Laurell

Wendy Wheelwright

 

 

 

Lyric Contributors:

 

Wendy Wheelwright

Lance Wheelwright

Joy N. Hulme

Thomas Johnston

Rick Laurell

 

Script Contributors:

 

Thomas Johnston

Kenna McOmber

Lance Wheelwright

 

 

Script

ã 2001

 

 

 

 

 

Act I

 

Overture

 

Scene I:  Music fades into a background. 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 and a plain wood table for the professor’s books and papers, set either upstage or to the side, leaving the center for the next part of the scene. The clothing indicates that this time period is 1890.  Place, UC Berkeley, CA

 

 Lights come up as music chimes the hour:

 

Professor:  (an elderly man with a droll sense of humor, a rather comical yet endearing sort

   of character, looks at pocket watch, taps on desk get the attention of class)

 

Students:  (straighten up and stop talking, open their notebooks to write)

 

Professor:   Your attention, please.  This is Senior Writing Class where famous authors

 are trained.  Anyone here want to be a famous author?

 

Student:  I do!

 

Student:  And I!

 

All: (general hubbub)

 

Professor:  Anyone here want to write the story of the Century?

 

Student:  Yes!

 

Student:  Right here!

 

All:   (general noise of individual interest).

 

Professor:  Good!  That's exactly your assignment.  Find the story of something that occurred in the past century—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:  But Professor, how could any little-known event have historical  importance?  Does such a thing exist?

 

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)                  

 

Animated music begins…Song No. 2:  Important Things of Life

 

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.

Student_solo:  IF I JUST HAD A CLUE WHAT TO PICK

 

Ina Coolbrith (coming across stage with cart of books as they near her they each grab a volume.)

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….

Ina[1]:  Shh, 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!!

 

Setting:  during following dialogue, remove chairs from “classroom” leaving the
table to serve as the historical collection of the library, set this either downstage,
on far edge of apron.  Place a large stack of books and papers nearby or on table.

 

Ina:  (turns, and with hands on hips gives them a scolding look)                 

 

Students: all exit except one—David Boyd (or Danielle Boyd depending on the gender you want to use)----who has no book and no idea.

 

Ina:  (sees him looking bewildered) May I help you?

 

David:   (looks at her quizzically)  Say, aren't you Ina Coolbrith, the famous poet?

 

Ina:      Yes, I'm a poet as well as a librarian

 

David:  (he shakes her hand) My pleasure! 

 

Ina:      Are you having trouble with your assignment?

 

David:  (discouraged)  Yeah.  I’m supposed to find some little known historical event

that somehow changed our whole country.

 

Ina:  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.

 

Ina:      Let me see if I can help.  (thinking) Something that… (another possibility occurs to her)     Or …someone that…..  Hmmm.  (turns to him)  What about a pioneer?

 

David:  (not very excited about that) Covered Wagons?  What’s unique about covered wagons?

 

Ina:  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)

 

Ina:      Believe me…, This pioneer accomplished a lot of things.  A great man, and still alive, by the way.  she digs out a manuscript as she speaks)  Ah, here it is.  (pointing out various passages as she speaks)

 

David:  (reading over her shoulder)

 

Ina:  He built the first school (hands him the paper).

 

David:  (not very impressed)  A school?

 

Ina:  Founded a half-dozen towns or more.

 

David: (nods, a little more impressed, as he takes those papers)

 

Ina:  (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)

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!

 

Ina:      Perhaps I should warn you, it won't be easy-- getting his story.  He's a quiet,

unassuming man.  Prefers working to chatting.

 

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...) 

 

                        SONG No. 3:  INA'S REPRISE (picking up melody from before)

 

Ina:  (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...

Ina:       SO, LOAD UP YOUR SUITCASE WITH SOME PAPER

PACK IN AN INKWELL OR TWO.

David:  OR TWO

Ina:       PREPARE SOME GOOD QUESTIONS ABOUT WHY HE CAME.

David:    AND WHY CALIFORNIA'S NO LONGER THE SAME.

Ina:         HOW WILL YOU DESCRIBE HIM, A MAN OF SUCH FAME?

David:   WAS HE TALL, SHORT, OR STOCKY?

Ina:         WHAT COLOR, HIS EYES?

David:    WAS HE CLEVER

Ina:         OR LONELY

David:    COURAGEOUS

Ina:         OR WISE?

David:    WAS HE HANDSOME

Ina:          OR TOUGH?

David:    THIS HAS GOT TO BE GOOD STUFF!

Ina:          HE WAS WORTHY OF HONOR

OUR FIRST FOUNDING FATHER

T'WILL BE LAUDABLE TO HEAR--

Writer (joins in) -- ABOUT OUR FIRST

(He interrupts her. )  Shh!  This is a library!

(They look at each other and grin)

Both:      PIONEER!

 

Set:  During the song, the library table and papers should be removed from stage or else placed in another part of the stage to represent the following scene.

 

Scene 2

Lights dim on Ina who retreats with her cart, and spotlight follows our young writer who moves upstage, whistling as he goes with his briefcase in hand.  He arrives at the Horner residence, represented by a small desk and two chairs set on a raised platform upstage.  On desk (or table from library scene) is photo, some papers, a magnifying glass:

 

David:  (stops before the imaginary door and knocks, primps like he's going to meet someone very important)

 

Horner[2]:  (An unimpressive old man comes hobbling to the door and speaks ) Yes?

 

David:  (looking at him quizzically, thinking he is speaking to the butler, obviously not

finding Horner as imposing as he had imagined)

I'd like to speak to the Honorable John Horner.

 

Horner:  Well, that would be me--what’s left of me, that is.  And you are…

 

David:  (shows obvious shock, then recovering goes on) Oh, uh, yes,

I'm David Boyd, a writer from Berkeley, California.

 

John:  (gives him a questioning look, scratches his head trying to remember where he met

 this famous author before, inviting him inside.)  Boyd?  Hmm?

 

David:  Well, I’m not famous yet, but I mean to be.  Someday you'll see my

name all over your newspaper.

 

Horner:  Hope not.

 

David:  Why not?

 

Horner:  The only news page I read is the funeral announcements.  I hope you didn't come

 here to write my obituary! 

 

David:  No sir.  I want to write a story of your accomplishments.  (opening his briefcase to

 get out his writing equipment) How did you get to be one of the richest men in

California?  That’s what I want to know.

 

Horner:  By digging in the ground.

 

David:  (surprised) Huh?  (thinks it over)  Oh, I see.  The gold rush.  I had thought maybe

your ferries, your stage coach line, the towns you founded had….

 

Horner:  Listen, son.  There wouldn't be a soul to ride those ferries or live in those towns without something to eat.  Forty thousand men were out diggin' up the hills and  not one of them thought to bring so much as a picnic lunch.  Gold nuggets are mighty hard to chew.

 

David:   I thought the richest men in California would have the most gold.

 

Horner:  I did, but mine were golden hash browns.  (chuckles, seeing that David doesn’t get

what he means)  Four-hundred thousand bushels of potatoes.[3]  That's what did it! 

 

David:  Potatoes?  (thinks it over, shaking his head as realizes what John meant) Ah!   All

those people panning for gold and the biggest fortune's in their frying pans.  That is a

story!  (writes) Let’s start at the beginning.  You were a pioneer to California.   Why

did you come… and how?

 

Horner:  (laughs) That’s the interesting part.     (Gets up to get out an old album.  

            Ponders a photo[4] for a moment before handing album over)

            It was a big decision for me.  (slows, thinking and asks) You know how sometimes

life makes you face difficult choices? 

 

David:  I’m not sure what you mean.

 

Horner:  It’s like you stand there, wondering what to do.  You see several paths for yourself, but you don’t know which to take  (Hands him the album and a magnifying glass)  My journey began right here.

 

As the writer peers through glass, on stage a spotlight or “special” finds John Horner as a young man.  He is wearing simple farm clothes, hair parted in the center, perhaps sticking up at the crown .  In the background the cyc turns deep blue with slight gold streaks to depict early dawn.

 

David:  Where's here?

 

Horner:  Monmouth, New Jersey.  That's me.[5] (points to the actor, John, who is not quite 17 years old)

 

David:  (looks at the youth below then to the old Horner, trying to see any resemblance)

 

(Music begins)

Horner:  (touching his grayed head) I looked better without the silver in my hair.

 

Scene 3:  Lights widen to reveal a farmer’s field on one side of the stage.  This field is the Horner’s home somewhere offstage. The field is suggested by the beginnings of a new field fence.  On the opposite side of the stage is a school represented by chairs or benches.

 

Song No. 4:  I Long to Know

 

John:  THE COCK CROWS AT THE BREAK OF DAWN

AND IN THE HEAVENS, ONE LAST STAR LINGERS ON.

IS IT MY GUIDING STAR[6], CALLING ME FROM AFAR?

 

Father:  (off stage) John, come along.  Time to work!

 

John:  Coming, Father!  (not moving)

Lights:  Will grow brighter as dawn turns into morning.

 

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 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 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!

 

William:  (age 10, enters)  John!  Father’s calling you!

 

Father:  (enters with Redbon Horner, age 13, carrying a rail for the fence)

John, William, no doddling.  We must finish the fencing today.

 

John & Wm:  (The boys look at each other sheepishly, rush off to get a plank)

 

Children and mother:  (enter carrying rails, enough to build a three-plank, zigzag fence,

 actors exit and enter to bring enough lumber to complete a suggestion of a

 fence.  These set pieces have been pre-notched so actors can lay them in place

quickly.  See sketch.)[7]

 

SONG No. 5:  NEW JERSEY MORNING

 

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.

 

(When their section of fence is set, the children join other children walking toward the school located on the opposite side of the stage.  The school has upper and lower grades in one room, youngest being maybe 9 and the oldest one 17.  The older students are giving reports; the younger students listen politely, much impressed by the older ones.)

 

JOHN:  I’LL RUN FASTER.

KIDS:  I’LL RUN FASTER.

JOHN:  I’LL JUMP FARTHER.

KIDS:  I’LL JUMP FAR.

JOHN:  I’LL DIG DEEPER.

KIDS:  I’LL DIG DEEPER.

JOHN.  I’LL WORK HARDER.

KIDS:  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![8]

Music continues under:

Teacher enters, rings bell, choreographed scene of handing out books, students reading from bible.  Parents and older siblings remain in the family field and continue work on the fence.

 

Teacher:  Hurry students.  (after they are seated) Elizabeth Imlay.  I’ll hear your report first.

 

Elizabeth Imlay: (singing from book, as if doing a report)

POOR YOUNG JOSEPH, HE WAS SOLD INTO EGYPT, I’VE BEEN TOLD.

YEARS HE SPENT INSIDE A JAIL ‘TIL HIS LIFE SEEMED MIGHTY FRAIL

(Pupils:  MIGHTY FRAIL!)

GOD GAVE HIM A SPECIAL GIFT, THE VEIL OF HIDDEN DREAMS TO LIFT,

INTERPRETED THE PHAROAH’S DREAM, BECAME IMPORTANT AS A KING.[9]

 

Teacher:  Very good, Elizabeth.  John Horner…, your turn.

 

John: (looks worried)  Oh, Miss Garner.  I study and study, but I'm not so quick, like the others. 

 

Teacher:   It's not how fast the ideas sprout.  It's how deep the roots reach down.

 

John:  Roots?

 

Teacher:  If you apply yourself, you'll remember what you read and be the better for it.  Now give it a try. 

 

John:  (still looks dubious)

 

Teacher:  You can do it.

 

JOHN:  JOB LIVED IN THE PROMISED LAND,

WAS A RICH MAN.  IT WAS GRAND!

SATAN TOOK IT ALL AWAY-- BUSINESS, FAMILY IN A DAY.

(Pupils:  IN A DAY?!)

MADE POOR JOB GET VERY ILL. YET JOB PRAYED.  HE LOVED GOD STILL.

GOD GAVE HIM NEW FAMILY AND FROM DEBT HE WAS FREE.[10]

 

Teacher:  (delighted, claps john on the back)  Well done, John.  I knew you could do it!

 

ALL:  STUDY HARD WHAT YOU’VE BEEN TAUGHT,

WHAT’S INSIDE IS WHAT YOU’VE GOT.[11]

USE YOUR MIND, JUST SIMPLY TRY, AND YOU’LL BE SMARTER

BY AND BY.  BY AND BY!

 

Teacher waves goodbye.  Students give back books.

Music finishes off as students walk away, Horner children return to their field.

School setting is removed from stage.

 

John and William go to father who pushes a wooden hand tiller in a straight line past the zigzag of the rail fence.

                                                                                               

John:  Father, could we ask you something?

 

Father:  (stops, rubs sweat out of his eyes, turns) Sure.

 

John:  William and I have been looking at these fence areas.  You never plant them.

 

Father:  That’s because I can’t get a plow in those corners.  Not worth the effort to do it by

hand.

 

John:  (looks at Wm. for reassurance) That’s what we’ve been meaning to talk to you

about.  Will you let us plant those areas with potatoes?

 

(The pace of the following  three lines needs to be fast, almost on top of each other.  The boys are ganging up on their father.) 

 

William:  That way we could learn how to farm.

 

John:  We’d do it all ourselves!

 

William:  …and you wouldn’t have to worry about weeding those corners.

 

(Now father slows the pace)

Father:  So----- you want to get out of working on the farm, huh?

 

John:  Oh, no sir.  We’ll plant our little patches on our own time.

 

Father: (laughs)  You certainly will.  But when you're both old enough.

 

William:  (grumbling) Oh! 

 

Father:  It won’t be long before you can begin life’s adventures.  Now back to work.

 

Boys:  (boys realize they have a future for their dream) Yes, sir!

 

Enter a few other young people from the neighborhood. Climb onto bottom rail of fence to watch.  One is 13-yr-old Elizabeth Imlay, a bonnet on her head with fake pigtails hanging down so she can conceal a mature hairstyle used when she has " grown" into young womanhood.  She is with her friend, Anna).

 

Young Elizabeth:  Hey, John, William.  Don’t you ever stop?

 

John:  (keeps working) If I apply myself now, someday I'll be wealthy.

 

Elizabeth:  Likely story.

 

Wm:  (copying his brother’s concentration) Just watch us.  One day we'll have own crop.

 

Anna:  Where?

 

John:  As soon as we're old enough, Father's going to let us plant all the bends in the fence.

 

Anna:  All six of them?

 

William:  Go on, there's more than six!

 

During the previous lines, enter Hickman and his cohorts, Jackson and Tompkins.

They are upper-class village boys.  Fathers are wealthy.  The boys have taken on a snobby attitude.

 

Hickman:  Hey!  Tater Head!  Whatcha doin’ out there?  Mining for gold?

 

John, (stands, brushes himself off, embarrassed)

 

Hickman: Didn’t I tell you!  His hands are so dirty, if we planted seeds on them, they

 would sprout over night!

 

Jackson: You’re right, Hickman.  He’s sprouting.  Look at him, head like a cabbage.

 

Tompkins: Floppy ears, like corn ears.

 

Hickman: And those eyes staring stupidly.

 

Boys: Tater Eyes, Just his Size!  (Laugh)

 

John: (getting angry) At least cabbages and potatoes don’t go flapping their mouths off about something they know nothing about.

 

Hickman: Oh-----, I see!  Think you’re smart cause you’re soon to graduate from that two-bit country school?  Father hired me the best tutor around.  No pipe dreams here.  My father’s a banker and I’ll be one some day.  So you see, I got my head full of knowledge, my pockets full of coins, and you--all you’ve got is potato peels!

 

Boys (laugh even harder at this one)

 

Hickman: Don’t laugh, boys.  John Horner’s going to be rich some day -- the day dirt turns
to money!

(They amble away laughing.  Hickman and friends exit.)

 

John: (shows his frustration in a physical expression-stomping or shaking a fist, whatever)

 

Father: Pay them no mind.  Their words are just the buzzin’ of pesky houseflies.

 

John:  (still angry, but trying not to be) You’re right.   What do they know about anything?

 

Mother:  Apparently, they know how to be unkind,[12]-- but I think they missed something

            very important.

(Music Begins):  

 

Song No. 6:   HUMILITY[13]

 

Mother:  HUMBLE AS A TATER.  THAT’S WHAT MAKES GOOD FOLK.

            DON’T NEED TO LOOK ALL SPLENDID, LIKE LEAVES OF POISON OAK!

 

All: WE KNOW WHAT WE’RE DOING.  WORKING WITH THE GROUND.

            DON’T HAVE TO SPREAD NO ITCHY STUFF AROUND!

 

(Various members of family can take these lines)

THE MUSHROOM’S QUITE THE FUNGI.

HE HOLDS HIS HEAD UP BOLD,

BUT UNDERNEATH HIS COVER,

THERE’S NOTHIN’ THERE BUT MOLD.

THE PUFFED UP DANDELION, HIS NOSE UP IN THE AIR,

LOOKS SO FINE UNTIL A STORM, AND THEN, THERE’S NOTHING THERE.

THE POOR, MALIGNED POTATO LIES LOW INSIDE THE GROUND

IT DOESN’T WANDER FROM ITS SPOT

WHEN THE WIND COMES BLOWING ROUND.

 

ALL:

DON’T BE A DANDELION, WITH NAUGHT BUT FLUFF TO YIELD.

LEARN TO BE A FARMER AND WORK IN GOD’S OWN FIELD.

 

John: You’re right.  Next time Hickman comes around, I’ll imagine him as those itchy red leaves and he won’t get under my skin any more.

 

Father: Glad to hear it, son.

 

Mother: Don’t lose your hopes.  You won’t ever make anything of yourself if you

don’t try.  And when you find that dream, you’ll know it was you who did it.  You

don’t have to ride into life on someone else’s coattails.[14]

 

(Parents and younger siblings exit)

Set:  During next dialogue a few chairs, wash stand, etc.are placed on opposite side of stage

 to give illusion of Horner home.

 

Elizabeth and Anna are still hanging to the split-rail fence, watching.

 

Elizabeth:  Interesting ideas you have.

 

John:  Listen, if you just came by to make trouble…

 

Anna:  Actually, we wanted to know if you heard about those new missionaries?

 

Wm:  You think we have time for missionaries?

 

John:  Let her speak, William.  I want to hear it.

 

Anna:  A couple of men, came into town last Monday, telling everyone about a

 new religion.

 

William:  I’ve heard the Methodists, the Baptists and Presbyterians.  That’s good enough.[15]

 

John:  So it seems.  Yet, I have a sort of emptiness…

 

Elizabeth:  Maybe you need to eat.

 

John:  Maybe you can run along home.

 

Elizabeth: (makes a face at him)  Maybe I will!  Let’s go, Anna.

 

Girls: (huff off).

 

Elizabeth:  (turns to look back)  He’s kind of handsome, don’t you think?

 

Anna:  (rolling her eyes as she drags her friend away)  Oh, honestly, Elizabeth! 

 

Girls exit.

 

Scene 4:

Lights fade down on fence, come up on  Horner family at home.  Family is seated, talking to Erastus Snow and his companion.  John and William enter via an imaginary back door, wash up in wash bowl set on a small table before venturing into room. There is a small towel to dry their hands on.  The Horner Family parlor could be created by use of a few simple wood chairs in a grouping, perhaps a braided  throw rug on the floor.  The table and wash bowl would be slightly separated from the chairs to give the idea that the boys have entered a separate room.

 

John:  (stage whispers to Wm)  Who’s in there with the family?

 

William: (peers in, pulls his head back again, wiping his hands on a towel)

No idea.   But I think---

 

John:  Shh!  Listen.

 

Father:  So, Mr. Snow.  I understand you’ve come here to talk about a new religion.

 

Erastus[16]:  (holds a copy of Book of Mormon in his lap as he speaks)

That’s right, and to share my story.  Like most folks, I was content with my life--well 

maybe content isn’t quite the word.  But I thought my life was good enough.  

I spent a lot of time thinking about God.  I knew He loved his children on the earth.  (Indicating the people in the room) You, me, all of us.  But I didn’t understand why we were here and if my life had any meaning.

About that time, I heard about the Church of Jesus Christ of Latter-day Saints.  What do you know about it?

 

Mother:  Can’t say that we’ve heard anything about it.  Is it Protestant?

 

Erastus:  No, it doesn’t protest at all.  It's a new beginning.  God is talking to His children again through a living prophet (handing Father the book he was carrying) and this book that he translated.

 

Father:   (takes it, looks at unopened cover) What is it about?

 

Erastus:   The reason why we’re born.  Why we exist.  What’s really important.

 

Mother:  We could know that?  How?

 

Erastus:  (crossing to her) There is a promise in the book.  I’ll show you.  (reaches for the book, opens to passage, points it out  as he reads….) Right here, it says...

 

 

SONG No. 7:  TESTIMONY OF ERASTUS SNOW

 

Recitative 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.

 

AND WHEN I READ THIS PROMISE, MY HEART DID BURN TO KNOW,

HOW COULD IT BE

THAT GOD WOULD SPEAK TO SOMEONE AS SIMPLE AS ME?

HOW COULD 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?

YET THESE WORDS, THEY MOVE ME SO.

OH, GOD IN HEAVEN, I NEED TO KNOW![17]

 

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.[18]

 

Erastus:  It’s hard to explain in words, but you can feel it, (he touches his chest)

especially as you read this.  (He indicates the book.)

 

Elder Cordwell:   It’s a book that can bring you closer to Jesus Christ, closer--from my own

experience with it-- than I could have ever discovered on my own.

 

(Boys enter quietly).

 

Mother (turns book over, reads the title)  The Book of Mormon.  (puzzled about it) Hmmm.

And it’s about Jesus?

 

Cordwell:  Exactly.  It not only teaches about Him, but offers so many examples of how

ordinary people overcame difficult problems--because of their

faith in Him. It's very inspiring. 

 

Mother (hands book back to Father)

 

Cordwell:  You’re welcome to keep it and read it, if you like.

 

Father:  I’d like that very much. Although I should tell you from the start that while I

certainly respect believers in religion, I never felt the desire to belong to anything.

  Maybe I’m waiting for a Moses to come along to lead the way.

 

Erastus:  Perhaps you’ll find--in these pages-- ideas to lead the way.

 

Father:  (Introspective for a moment)

 Interesting thought.

(Stands up, studies the cover for a few seconds, then sets it down)   …Well…

 

All:  (rise, as elders begin to exit)

 

Mother:  (walking to the door) Thank you for your visit.  When did you say you want your

book back?

 

(While they are talking, John picks up the book, opens and starts to read the beginning.)

 

Erastus:  If you plan to read it, then you may keep it.

 

Father (they shake hands):  Well….that’s generous.  Thank you very much. 

 

Erastus:  Let us know what you think of it.

 

Father:  It may be a few days before we can do any reading.  This is planting time.

           

Erastus:  Actually, I used to read while I plowed the fields.  The only problem was

            I’d get so involved, the horses wouldn’t get much plowing done.

 

Father:  I’d better not catch any of my sons doing that!

 

Elder Cordwell:  Good luck with your crops!

 

John (has turned another page)

 

Mother and Father:  Goodbye!

 

The Lights fade on their farewell as John wanders off with the book,

as if he wanted to be alone.  He reads as he walks into next position.

 

John:  (reading)  Nephi?  Hmm.. Oh..The person writing this, I think.  (reads further)

Writing about his life in the language of his father?  …”consists of the learning of the Jews and the language of the Egyptians”  (enthralled) Oh!.[19] 

 

(The Lights center on John and his new interest, the Book of Mormon.  John wanders from his father's house out to the field section of the stage and sits, totally absorbed in the book).

Set:  clear away Horner’s parlor at opposite end of the stage.

 

Scene 5

(Elizabeth, Anna, Jacob, Wm. are walking along.  They come upon John whose nose is in the new book.  The others pass him to talk in a huddle.  Not Elizabeth, however.)

 

Elizabeth: (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?

 

Elizabeth:  So, what is going on?

 

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)

 

Elizabeth:  You can tell me.  Go on, I really want to know.

 

John:  (shakes his head, no)

 

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 tell

you.

 

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.

 

John:  (ignoring her teasing) Seriously, Elizabeth, It’s hard to explain. 

 

Song No. 8:  God’s Spirit Brought Me Light

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 THESE 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.[20]

 

Music continues under….

 

Elizabeth:  So you believe this book is from God?

 

John:  I know what I feel inside. 

 

Elizabeth:  But people say God put all his words in the Bible—there won’t be any more

words from God.

 

John:  People say all sorts of things, but that doesn’t make their opinions true. 

 

Elizabeth:  Well, what does?

 

John:  What you feel in your heart.  Read it, then YOU can decide.

           

Duet (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.

 

John:  (fidgeting with the book, then looks at the sky)

            Suns setting.  Maybe we should go in.

 

Elizabeth:  (not moving) Maybe.

 

John:  (slightly proud of himself) You know, it won’t be long before I’ll be on my own.[21]

 

Elizabeth:  Remember when you planted potatoes in the corners of your fence line? 

I teased you, but I saw how hard you worked.  You’ll do well on your own.  With

a little patience and luck, you’ll probably even be rich.

 

John:  There’s no such thing as waiting for your luck to come.  You prepare, you pray for

help, you work hard, then, when a chance comes, you take it. With the help of God,

I’m going to succeed.

 

Elizabeth: Just make sure God gets a little credit.

 

John:  (picking up the Book of Mormon) From now on, God gets all the credit. 

 

(John and Elizabeth exit. If the younger John and Elizabeth are played by the same people as the older version then off stage they make a change into more mature hairstyle and clothes, John changes to his worn boots.)

 

The Lights fade down

Set Nauvoo scene during following dialogue.

 

Scene 6:  Old Horner’s study

Lights up:

 

David:  So, did you join that church?

 

Horner:  First one in my family.  Baptized when I turned 19.  And that decision changed my

life for the better.  I was started on a new path.

 

David:  The path to California, right?

 

Horner:  Not exactly.  I had a yearning to meet the man who had translated the Book of             Mormon.[22]

 

David:  Where was he?

 

Horner:  Illinois.

 

David:  How'd you get there?

 

Horner:  Walked. 

 

David:  (astonished at the attempt) You walked from New Jersey to Illinois? How long did

that take?

 

Horner: Don't ask. But, it was worth it. 

 

(Lights fade on Horner Study, up on Nauvoo scene)            

 

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.  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 No. 9a:  Nauvoo (a dance)

                                   

Scene 7:  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.  John enters as strings play a sweeping theme.  He pushes through the streets looking for the prophet, asking for him.  Various people point the way.  Bumps into Erastus[23].

 

Music volume needs to drop a little under the following conversation, however actors need to act as though the din is overwhelming.

 

John:  (loudly, trying to be heard) Erastus!  Good to see you.  I’m looking for the Prophet,

Joseph Smith.  Where can I find him?

 

Erastus:  (leading him)  Over there.  I’ll introduce you to him.

(They find the prophet, moving off to the side so the choreography can continue)

 

Music fades down enough so we can hear them over the sound.

 

Erastus:  This is Joseph Smith.

 

John:  I'm John Horner.  Came from New Jersey to shake your hand.

 

Joseph:  New Jersey?  That's a long way to come 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:  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:  (To both of them) Oh, thank you.  (Turning back to the prophet) I was wondering

how this…(feeling awkward, holds up his Book of Mormon)…uh, how you…

 

Prophet:  (anticipating John’s question cuts in)   I translated it from an ancient record

through the help of God.  (he walks away from the noisy construction area)

 

John:  (following Joseph) I’d like to ask you something else.

 

Sound:  Nauvoo sound is slowly suspended.  The dancers continue their choreography but in slow motion.  During the following section of music, the dancers begin to move, showing how to listen to the voice of the spirit.  While some continue to work, a few gather in prayer, others stop to say a kind word to one who looks sad, visual acts of kindness and love)

 

Prophet:  (finding a quiet spot, turns):   That is?

 

John:  What do you think a young man like me ought to know to succeed in life?

 

Song No. 9b:   Be Still and Know

           

Prophet:  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.[24]

 

Prophet:  Your Heavenly Father loves you—oh, so very much.  You have NO idea

the depth, the comfort and healing of that love.  He wants all His children to return to

Him.  That is the only place of real happiness.  And yet He loved us enough to grant

us choice.  We get to choose what we will do with ourselves—to choose right from

wrong.  This is success.  It’s not always easy, because in some cases we must chose

between honorable goals[25].  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.

 

Staging suggestion:  If possible, have a choir seated either at the back of the auditorium on to one side.  This choir would represent heavenly assistance.  They sing at important spiritual moments during this presentation.

 

Song No. 9c:  Be Still and Know Chorus

Music of choir emphasizes that this is true as they sing:

 

ALLELUIA, ALLELUIA!  BE STILL AND KNOW.  BE STILL AND KNOW.

BE STILL AND KNOW—GOD LOVES YOU SO!

(Joseph opens up a Bible, points out something to him as the music completes)

 

Eventually the noise of the city resumes, the following lines are exit lines.

 

Joseph: Now duty calls.  We have a city to build.

 

John:  I’d like to stay here and help.

 

Joseph:  Excellent!  (looks around, sees Woodward)  Brother Woodward, come

here for a minute.

 

Sister Woodward:  (returns with soled shoes) Hope these will do!

 

John:  (amazed at the efficiency)  Why, thanks!

 

Woodward: (joins the group)

 

Joseph:  This is John Horner.  (They shake hands)  He’s offered to help build the city.

 

John:  I'm a farmer.  (Sits and puts on boots)

 

Woodward:  (rubbing his hands together at the good news) Terrific!

 

John:  The only problem is, I didn't bring any of my tools.

 

Woodward:  That's no problem!  You won't need a plow or shovel.  I’m going to make

you...   (looks him over to see if he's fit) -- a brick mason.

 

John:  (astonished) A what?  A mason?  You’re joking?   Tell me you're joking!

 

Woodward:  (shakes his head)  Nope (as he rushes John away)

 

Joseph (waves them goodbye with a jovial laugh and disappears into the crowd)

 

Lights dim down.

 

(Lights up on student and old Horner)

 

Scene 8:  Horner Interior

 

(Curing this dialogue young John changes clothes to look as if he has grown in life experience.)

 

Horner:  I was overjoyed.  I had shaken the hand of the prophet, Joseph Smith.[26]  He

inspired me to roll up my sleeves and help build the city, Nauvoo, by mixing

mortar, handling the trowel, the square, the saw, the plane—skills I needed to use in

the days of my poverty when I had to do my own labor.[27]

While I worked, the advice of the prophet took root in my soul.  I was determined to

make the right choices.

 

David:  To change?

 

Horner:  It’s called repentance.[28]  It’s kind of like farming.

 

David:  Like farming…?

 

Horner:  You have to get rid of the weeds or your good plants can’t grow.

 

David:  Repentance is weeding?

 

Horner:  Looking at your bad habits and thoughts, then pulling them out by the roots. 

 

David:  That sounds easy enough.

 

Horner:  That’s what I thought—until I got home.

 

Scene 9:  (Lights come up on various New Jersey cast scattered on the field fence set.  As John enters we see that he has grown.  Hair is parted on side, clothes of an adult, not a 17 year old anymore.  He’s more confident now.)

 

Anna:  (delighted to see John again) Is that who I think it is?

 

John:  (striding into scene)  Good to see you, Anna.

 

Others:  (crowd around him, ad lib their welcome home)

 

Wm (now older, age 16):  (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. 

            William, you should see it!  It’s a thriving city with maybe 10,000 people.  More

coming in every day!

 

William:  Tell me later.  I need to let Mother know you’ve arrived.

 

John:   But, William, about the potatoes--

 

William:  Later, John.  (tilts his head toward Elizabeth who is hovering near, wanting to see

him) There’s someone else who wants to see you.

 

Elizabeth:  (who is now without her pigtails, steps closer as William charges away)

Remember me? (She has grown up!)

 

John:  (takes off his cap, stunned at the transformation) Oh!  Elizabeth!

 

Elizabeth:  Been a long time.  I missed you.

 

John:  I missed you, too.  (an awkward pause)  Guess what.   I'll be teaching at the school

again this fall.[29] 

 

Elizabeth:  I was hoping you’d say that, hoping you were back for good.

 

John:  You were?

 

Hickman, Tomkins, and Jackson enter.  They have also grown up but haven’t grown any wiser.

 

Tomkins:   Looks like Horner's back.

 

Hickman:   The scarecrow must ‘ve taken the day off, and he's filling in for him.

 

Jackson:     Here is Jack Horner, back in his corner, digging his father's field. (emphasize )

 

Hickman:    He poked with his thumb, because he was dumb..

       To see if the Tater was…(gestures to the others to finish the rhyme)

 

Tomkins:  Uh… growed?

 

Hickman:  No, stupid!  Peeled!

 

Anna:  (to Elizabeth) Dumb joke.

 

Elizabeth:  (quietly to Anna)  Consider the source.

 

Hickman:  (walking as impressively as possible over to Elizabeth)

You will be at the social tonight won't you, Elizabeth?

 

Elizabeth:  You're asking because...

 

Hickman:  (cocky) Because all the best people will be there.

(looks over at John in his dusty travel clothes) Its too bad John won't be coming.

 

Tomkins: Yeah, no admittance without clean clothes.

 

Hickman: (leaving Elizabeth, going back to his friends) That’s right. If you hang around

Farmer John very long, you're likely to get soiled. Get it guys?  soiled--farmer—

soiled. (His friends laugh--they are the only ones who do)

 

Tomkins:  (said while exiting) Good one, Hickman.

 

Hickman and friends exit, ad lib as they go.

 

William:  (entering during Hickman’s line) Sorry to interrupt, but Mother

is anxious to talk to you.

 

John:  I’ll be right there, as soon as I check on our crop.  (turns back to Elizabeth)

 Maybe we can finish our conversation later.

 

Elizabeth:  Actually, about that town social tonight.  I plan to go.

 

John:  Good, I’ll see you there!

 

Elizabeth:  (smiles to herself until she heads away toward the fence) You certainly will! 

 

William:  I heard what Hickman said.  I’m surprised you didn’t ball up your fist and knock

him back where he came from.

 

John:  I used to dream of being so rich that he’d burn with jealousy, but not any more…

because that would make me just like Hickman.  I learned things in Nauvoo and I’m

changing. (bends down and pulls out a potato, thoughtfulyl turns it over in his hand)

Just think, William.  Our first potato this season.  I get goose bumps just looking at

it.

 

William:  You sure it's not the threat of rain raising those goose bumps?

 

John:  No, it’s these (showing the potato, pointing out the eyes).  Look.  This potato holds

such potential.  It could feed a soul or seed a crop.  Have you ever considered what

potential lies within us? 

 

Song No. 10: My Father's Field   

John:

 

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.[30]

 

Thunder and sounds of rain are heard.  John & Wm lift their coats over their heads and together they run for cover.

 

Music segues into…

Scene 10:  Town Social

 

Musical No. 11a:  Town Social (dance)

 

Dance scene:  Townspeople are enjoying each other.  Elizabeth is the attention of several eligible bachelors.  She dances briefly with one of them.  Offstage, John chages into his "clean clothes, then with hair still damp from the storm raging outside, he pushes his way through the crowd, sees Elizabeth, heads for her but then sees Hickman and stops.

 

Hickman:  Ah, there you are, Elizabeth.  I see it's raining hard outside.  Father let me bring

our carriage.  Nice and cozy, with a roof overhead. 

(unbearably sure of himself and very condescending)

I'm offering to let you ride home with me after the social.

 

Elizabeth:  A considerate offer, Hickman (looks around and spots John), but I

don't think I’ll need it.

 

Hickman:  Won't need a ride, in this down pour?  (Follows where she's looking)  If you're             thinking of going with Horner, you'd be lucky to get a ride on a milk cow.

 

John:  (Having seen that she is the center of attention, loses his courage and turns away)

 

Elizabeth: (seeing him turn ) Excuse me, gentlemen.  (catches up to John)

            You aren’t leaving already?

 

John:  (jealous) You seemed preoccupied.

 

Elizabeth:  I was--

 

John:  (frowning and looking disappointed)

 

Elizabeth:  I was waiting for you.

 

John:  (still worried)

 

Elizabeth:  Well, are you going to ask me to dance?

 

John:  Are you sure you--

 

Elizabeth:  (holds out her hand)  Certain of it.  

 

They start to join the dance.  Music continues as….

 

John: (takes her aside) Elizabeth, before I lose my nerve.

 

Elizabeth:  (encouraging him) I’m listening.

 

John:  I know this is sudden, but I want to leave for Nauvoo as soon as school is out.

            They have a new city and a hope for the future.  I want to be part of that.

 

Elizabeth:  Sounds like a wonderful place to me.

 

John:  You really think so?

 

Elizabeth:  I do.

 

John:  I'm just a poor school teacher and a man who plants seed

potatoes in the corners of a fence.   All I have are my hopes. 

 

Elizabeth:  Better to have a humble heart than a swollen head.  (they laugh)

 

John:  Then….. you might consider…

 

Eliza (nods encouragement) uh huh

 

John,  Would you…uh.   Will  you…

 

Elizabeth:  (thinking he’ll never get it out) Consider Nauvoo as a permanent home--- with

a rather shy, but ambitious farmer? 

 

John:  (He is speechless, just nods).    Uh Huh                                                                      

 

Elizabeth:  Oh, John!  Of course!

 

John:  (gleefully spins her around)

 

Elizabeth:  (throws her arms around him) I wouldn’t miss it for all the world!

 

John: (excited)  Let’s go see your father.

 

Elizabeth:  Let’s do. 

 

(Imlays, Horners and a few others are talking in a group to one side)

 

John:  Mr. Imlay.  (Uncomfortable again) Uh,-- May I have a word with you in private.

 

Mr. Imlay (looking pointedly from John to Elizabeth and back again, grinning):

About time you asked her, son.  She's had her eyes on you for years.

 

Elizabeth:  Father!  (She hugs him)

 

Mr. Imlay:  Congratulations my dear.

 

Mrs. Imlay:  (hugs them both)

 

John:  (taking Elizabeth by the arm, turns her toward the Horners)

 

Elizabeth:  Good evening, Mrs. Horner.

 

John:  That’s Mother Horner now.

 

Mrs. Horner:   breaks into a smile; ad libs as she hugs her future daughter-in-law)

 

Father:  (joins the conversation, not catching on) Am I missing something?

 

Mother: (still hugging Elizabeth)  Congratulations my dear.

 

Father:  Now I know I’m missing something!  Am I about to lose a son? (hugs Elizabeth.)

 

John:  Not lose, Father.  I left several years ago,

 

Mr. Imlay:  (joining them) So, when can we tell the world?

 

Mrs. Horner:  How about now?

 

John:  (looks at Elizabeth)  Why not!

 

Mr. Imlay:  Attention everyone.  (the room quiets) It is my pleasure to announce the

engagement of (turning to draw them out) Elizabeth--- and John.

 

Hickman: (with Tompkins and Jackson gathering to him, jabber.  As everyone steps away

after the congratulations, he confronts Elizabeth,) I won't say congratulations. 

You've just traded quality for rubbish, Elizabeth Imlay, but don't say I didn't warn

you.  One day you'll be sorry.  Very, very sorry!  (he and friends stride off in a huff)

 

Set change: During following dance, a few chairs and parlor rug are placed to the side, suggesting the Horner home in New Jersey.

 

Musical No. 11b:  Engagement

The crowd celebrates with a dance

 

Scene 11:  Horner’s House

 

(John and Elizabeth walk toward the Horner Parlor set as dance music continues in the background, lights slowly fade on that scene.)

 

Setting:  clear the dance area, set up Conference scene in far opposite side of stage, if possible on a level above the main floor of stage.  Set up for the Brooklyn Scene as soon as possible.

 

John and Elizabeth (enter, chatting about their dream house in Nauvoo: I can build you a

brick house, with a big front porch etc.).  They suddenly stop, seeing Elder Cordwell standing in the parlor talking with John's parents who are very solemn faced.)

 

Mother:  Elder Cordwell.  This is Elizabeth Imlay and my son John.  They were

 engaged recently.

 

John:  Yes, we're going to be married, then we're going to Nauvoo.

 

Mother and Father: (look at each other with concern)

 

Cordwell:  Young man, there’s no future for you at Nauvoo.  The mobs are not content with

 killing the prophet, Joseph Smith.  They are burning homes and driving members

 of the church from their farms.[31] 

 

Mother:  (cutting in) Church members in Illinois have been ordered to leave the state.

 

Elizabeth:  Ordered?

 

Cordwell:   Like Governor Boggs of Missouri who gave an order to exterminate anyone

believing in our faith.  

 

Father:  It’s possible other states will follow.  Brigham Young has instructed everyone to go

west for safety.  The sword of war will soon rage in this land, he says.[32]

 

Cordwell:  There's to be a conference for East Coast members.  Apostle Orson Pratt will

instruct us.  The details are here in the New York Messenger.  (hands them a

newspaper.[33])

 

John:  (moving Elizabeth a few steps away for a private conversation) Brigham Young is a

prophet of God. I know that with my whole heart!  I must go west, but…I cannot ask

you to make such a sacrifice.  I love you more than life itself…yet facing life without

you… [34]  

 

Elizabeth:  (interrupts him gently) John, I love you more than life itself.  I would follow you

anywhere.

 

John:  (opens his mouth to speak)

 

Elizabeth:  (stops him, then puts her arms around him tenderly)

 

 

As this is read, the scene in New York is slowly coming into light on another part of the stage( behind a scrim if possible).  People are quietly gathering into the conference room, soft organ music in the background. Music stops when Pratt takes his place to speak.

Scene should be in a far corner, allowing the set up of the cabin in Nauvoo on the center portion of the stage.

 

Lights are off on Horner family.  Elizabeth and John exit, get “luggage” and prepare for their next scene on board the Brooklyn.

 

Scene 12:  A Conference in New York, is becoming brighter as Horner scene fades

down and eventually is gone from sight.

 

Pratt:  (takes position at a podium to give his speech) My dearly beloved brothers and sisters

            in Christ.  Despite the banner of freedom which flies above this land, we are a people

            no longer protected under its promised liberty.  We have endured one continual scene

of the most horrid and unrelenting persecutions…for the last sixteen years.  Even

now our people in Nauvoo suffer atrocities at the hands of evil men.[35]

 

(As he speaks, the lights fade down on the group, leaving only a pin-spot on Pratt, while on another section of the stage we see the following scene.)

 

Scene 12b: 

Musical No. 12:  Mob Scene Underscore

Mob Scene music and actions: 

Music:  begins again, a plaintive tune.

 

Lighting:  see the following room description.

 

Setting:  An interior room suggested by a bare wood table and a few chairs represents a home in Nauvoo.  A single candle or lantern ( lit) sits in the center of the table.  Sister Woodward walks her sick baby.   Lights come up softly to illuminate scene.  Suddenly gunshots are heard as a mob rushes the cabin.  The husband and son enter the kitchen area.  The son grabs a chair.

 

Light:  Pinspot on Elder Pratt fades out.

 

Acting Suggestion:  See piano/vocal score for timing of dialogue.

 

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, fire burning, rain pouring, children crying, women trying to comfort them, mob shouts, etc.

If you have a fog machine, use it here.

 

Staging Suggestion: The following dialogue at the Conference and the exodus in Nauvoo happen at the same time. Time Pratt’s comments toward the end of your “exodus.”

 

Plaintive Music continues after the “explosion.

 


 Now we see a stream of refugees leaving their homes, bent in sorrow with grief as they cross the stage.  This is happening under next dialogue so we see both at the same time.  This exodus needs to be planned far front with very focused, narrow light in a band across the front of the stage, leaving the upstage area in total darkness.  In the dark you can now begin setting up the Brooklyn Ship set.[36]

 

Scene 12c -  New York Conference continues

 

Light:  pin spot fades up on Pratt.

 

Pratt:  (his voice heard behind refugee enactment above) Nauvoo is being abandoned. 

 

Crowd (murmur, some people are tearful)

 

Pratt:  There is no choice.  We must leave.  Sell your property and personal belongings

so you can prepare for the journey.  Elder Samuel Brannon has been appointed to

preside over those can’t afford a wagon and team.

 

The procession of exiled Saints is now off stage.

 


Music ends.

 

Setting:  Finish setting up the Brooklyn.

 

 Brannon:  (stands and addresses the group) We have chartered a ship, The Brooklyn.  The

ship has two decks and the hold is so large that it will carry freight of all kinds. 

Between the decks, laborers are now building 32 state rooms with bunk beds and a

skylight that will open for fresh air and light.  We sail on January 24th .[37]

 

 

 

Scene 13a 

Lights on Old Horner’s House and on stage also.

 

         On stage we see a prow, rails along a deck, and a gangplank leading onto a 3-masted, square rigged cargo ship.  Name plainly painted, “The Brooklyn.”[38]

If you have a fog machine, fill in around the base of the ship with fog.

 

Old Horner: (as deck hands work the sails on the boat below him.  Seen prominently along the rail are John, Elizabeth, Glover, Brannon, with Cpt. Richardson doing his duty)

              On February 4, 1846, the Brooklyn slipped out of port in New York.  On the banks of the Mississippi River that same day, other members of the church were facing expulsion from their beloved city, Nauvoo.  It was the middle of winter--a winter so cold that soon the Mississippi River was covered with thick ice, which became the roadbed for many forlorn refugees.  The Pacific Pilgrims and the Illinois pioneers were leaving America, going west--searching for a place where they could worship God.  At that time the West was another country, part of Mexico.  Aboard our ship, the Brooklyn, we passengers huddled on the decks, watched as our ship was towed through New York harbor, gateway to the land of liberty.  For us, this was not a land of liberty, but a land of persecution.[39]                                                                                                

Scene 13b

Elizabeth:  (taking husband by the hand as he stands gazing over the rail) Come away

              John.  We need to get settled in our room.

 

Sailor (standing beside opening)  Watch your step, mate….and your heads.

 

Lights dim on deck, up on stairway into hold, up on small section of hold.

The stairway into the hold is narrow and steep.  At the deck level, the hold entrance is surrounded by a 2 ½ foot planking to prevent water from entering.  John will have to help Elizabeth get into it the first time with her full skirts. The rim of this entrance can be imaginary but actors need to pretend the hold rim is there.

 

All adult actors, when in the hold, must hunch over to keep from bumping their heads on the ceiling.  Divide cast in half, keep some off stage to enter onto deck for following scene.

 

John and Elizabeth descend into hold.  For the purposes of this production, we will have 6 beds in each room—a set of bunks right and left, and another at the back of the room, the bunks to be only 18” apart.  The beds will be 5 feet long and 18” wide so that each room is 5 feet square.  Each “stateroom” door will be a blanket.  Since the following families play important roles in our re-enactment, the Ensign family is to be in first stateroom. Robbins family are in next 2 staterooms, using 5 beds, 4th stateroom is for Goodwins with Isaac jr. to sleep with Robbins, 5th is for Horners, but Emerette age 13 and Nancy Goodwin age 4+ are in there as well, next is the Burr Family and Starks. (Ensign family got TB and gave it to the Robbins whose 2 children died.[40]) Down the center of the hold is a table stretching nearly the length of the ship with benches on each side, all fastened securely to the floor[41].

 

John:  Excuse us, please (passing the above people who are trying to get settled).

              Here it is, number 5.  (peers in, sees Emerette and Nancy sitting on a bunk)

              Oh!  Sorry, thought this was our room.

 

Emerette:  It is-- partly.  We've nine in our family.  Don't quite fit in one stateroom.

 

Elizabeth:  (slightly upset, speaks to John.) But Brannon said every family would have their

              own….

 

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.[42]

 

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.

 

Goodwin children:  (peek in behind their mother)

 

Elizabeth (continues on without stopping)  I see you've quite a crowd.

 

Laura:  (turns about to see her children grinning) Yes. This is Isaac, Lewis, Edwin, and

              Lucinda.

 

Isaac Sr. (steps up)  I'm Isaac Sr..  (Horners introduce themselves quickly).[43]

 

Laura:  I guess you don't have children.

 

John:  Oh, not yet!  We got married one day before we came here.

 

Isaac Sr.  Ah!…This is your honeymoon.

 

John:  A rather uncommon wedding trip, I think.[44]

 

Laura:  Indeed!  Well….come children, let the Horners get settled (to girls, pointedly) and

have a few moments alone.  (they return to their room, but not Emerette.)                                                 

Lights up on deck where Brannon orders Glover to ring ships bell 3 times.

 

Brannon:  (pulls out pocket watch) Yes Glover, 3 bells.

 

Glover:  (heavy Scottish accent) Aye, Elder Brannon (he rings the bell 3 times).

 

Below:

 

Elizabeth:  What's that?

 

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.

 

              (The two climb back up the stairs along with Lucy Nutting, Emmeline Lane, Miss Reed, Angeline Lovett, Elizabeth Margaret Poole, Susan Savage, Zelnora Snow)

 

 Lights on deck widen as they emerge onto deck.

(The single women cross to a raised area, the galley, .  Ad. Lib introduce themselves as they take platters from the cooks while below, children rush to the table and sit.)

 

Emmeline:  (reaches the stair with platter of pewter mugs.  Looks down to see how hard

              it is to climb onto stairs.  Hikes up her skirt and tries to enter, showing how

              difficult it is)

 

Elizabeth (who has not yet taken a platter, rushes over, takes the platter)

 

Emmeline (steps in, then Elizabeth gives back her platter and she descends into hold)

 

Girls:  (carrying platters of biscuits and salt pork, all do the same.  We see them enter

              hold, serve the children.  Elizabeth is left alone)

 

Elizabeth (goes back, gets a pitcher of water and stops at the opening, studying what to

              do.     She finally sets her pitcher next to the entrance, climbs in, then reaches back

              and gets her pitcher.   Elizabeth descends into hold and begins to pour.

 

Music into Rules and Regulations begins

On deck the other groups of passengers are busy doing things on top, scrubbing dishes, teaching, children playing.  We can also see passengers below doing things.  Should be very busy scene…

 

SONG No. 13:  RULES AND REGULATIONS[45]

 

Glover at the bell:  (for 6 counts in the intro, matching the beat.  Glover needs to

              memorize this song in order to do the rhythm correctly)

 

Children in hold:  WHEN REVEILLE BEATS, JUMP OUT OF BED,

              WASH FACES, HANDS, AND COMB YOUR HEAD,

 

Women :  YOU CAN'T LEAVE YOUR ROOM TILL YOU'RE PERFECTLY DRESSED

              INCLUDING YOUR COAT AND MAYBE YOUR VEST.

 

Glover on bell:  (2 counts) (Brannon close by, supervising)

 

Laura:  (to her children)  BY SEVEN A.M. DO YOUR ROOM AND BED.

              STAY OUT OF THE HALL WHILE THE TABLE IS SPREAD.

 

Glover:  (be late on this one,  Brannon scolds)

 

Goodwin children:  BREAKFAST FOR CHILDREN, EIGHT-THIRTY A.M.

              THEN GO TO YOUR ROOMS OR THE DECK ONCE AGAIN

 

Glover (Hits bell after the word "nine" in following lyric)

 

Male Adults:  ADULTS WILL HAVE BREAKFAST AT QUARTER PAST NINE

              WITHOUT ANY CHILDREN TO PESTER AND WHINE.

             

Glover (A bell after "dream" in dialogue following)

 

Women:  BY TEN A.M. SHARP, THE HALL SWEPT CLEAN

 

Small group on deck:   FROM THEN ‘TIL TWO,

              IT'S READ, OR DREAM

 

Glover: (madly trying to get this bell right with Brannon standing over him, missing both

              of them and ends up clanging after "more")

 

Cooks:  HOT DINNER IS SERVED AT THREE, AND AT FOUR.

 

Children on deck:

              CHILDREN EAT FIRST 'CAUSE ADULTS WANT MORE.

Phoebe (she is standing in the hold):  THE ROOMS ARE CLEARED,

Laura:  AND SWEPT AGAIN

Men:  THE DOORS ARE OPEN UNTIL 8  P.M.

Women:    TO AIR OUT OUR ROOMS WHILE WE VISIT AND SING

              OR DO ANY OTHER "INNOCENT" THING

Cooks (on deck):  AT 8 IN THE EVENING A COLD LUNCH IS SPREAD

                             FOR ANY TO EAT BEFORE GOING TO BED.

 

Brannon: (scolding Glover)    BEDTIME -- NINE O-CLOCK SHARP, I SAY.

Glover:  bangs loudly 3x after “that is the end”

 

All:  AND THAT IS THE END ….OF A SHIP BROOKLYN DAY.                        

 

A couple of sailors move to a railing and point at something.  One runs to get First Mate.

 

Brannon:  (To Glover who is delighted to quit ringing the bell)  Not so fast, Glover.

              You are not done.  One more time—loud and long.

 

Glover:  (rings bell as asked)

 

Sound:  wind blowing, gradually gets louder as scene progresses.  Sky will darken as storm intensifies.  The following conversations happen almost on top of each other.

 

Crowd:  (gathers to see what Brannon wants now)

 

Brannon:  I think we need to go over these rules once again.  Some of you still don't know

               the bells. (looks at Glover with slight exasperation).

 

Mate:  (Mid sentence under Brannon,Mate steps out and comes toward Sailors.)

 

Sailors:  There, Sir.  Those dark clouds closing in.

 

Mate:  Looks like rain that direction (pointing off somewhere).

              Better wake the Captain.

 

Brannon:  As I was saying…

 

Sound.  Crack of Thunder in the distance.

 

Crowd (look around anxiously)

 

Brannon. …these rules were given to each of you before boarding.  There is no excuse…

 

Sound:  Thunder.  A little louder.

If possible, have a fan to blow some wind on the sails.

 

Glover:  (holding up hand, catching rain, looking at it)  Excuse me, Elder Brannon, but it's

              starting to rain.  Perhaps the people need to get inside.

 

Crowd:  (covering their heads and not waiting for Brannon, hurry to the hold)

 

Richardson appears from his cabin.  Talks quietly to his Mate.

 

Sailor (with glass):  The wind is getting stronger, sir.  Those clouds are building, too.

 

Richardson:  (looking around)  I don't like the look of this.  All hands on deck.

 

Mate:  All hands on deck.  All hands!

 

Sailors:  (rush about, nearly knocking Mr. Brannon to his knees) 

 

Brannon:  (looking around, bewildered) Uh, ….oh!

 

Glover:  If you don't mind my saying, you'd do better to get out of the way,

(Glover, with Brannon in tow, rushes off.)

 

Richardson:  Furl the sails, men.  Quickly. 

 

Lights begin to dim as music begins.   With each lighting flash we see the following

Director can select a few of these possible activities to portray, fitting into the length of music and possibilities that the set will allow.  Between each vignette, hear shouts of voices, cry of children.  These need to be Pre-assigned rather than random.[46]  If you have a fog machine, use it here.

 

(a) Sailors working the sails:  Bring out the storm sail (small one) and remove the regular sails, which aren’t as strong.  Ropes are used to lower the sails.  These would drop to the deck when released, and would be rolled up and tied. 

(b) Sailors changing the sail:  Use 3 part block and tackle to raise the new sail.

(c) Batten hatches:  sailor comes onto deck with hammer, covers for the hatches (3 of them) are wedged into place using the hammer to pound the wedges. In this re-enactment, likely would have only one seen.

(d) Securing the anchor.

(e) Passengers getting thrown about.

(f) Sailors lashing helm, which is done by tying a rope on the right and another on the left to the sides of the boat.

(g) Stateroom, Laura Goodwin hovering over her young ones protectively

(h) Passengers throwing up in night pots

(i) Doctor tending the sick

(j) Children thrown from their beds, roping children to beds when storm reaches its peak

 

Song No. 14:  Atlantic Storm[47]

(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.

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.

 

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.

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.

 

Sounds of creaking ship, wind, thunder, and rain keep growing in intensity.  Music continues.

 

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.

 

Focused Light comes up on Laura Goodwin. We find her cuddling her little boy, Albert.

 

 

Song No. 14b:  Hush My Baby

Sung by Laura Goodwin

 

HUSH, MY BABY, HUSH.

THRU STORM THE WIND DOTH RUSH.

BUT ANGELS HOVER WHILE YOU SLEEP

TO GUARD YOU FROM THE OCEAN DEEP

SO HUSH, MY BABY, HUSH.

 

 

Richardson:  (While she sings, he descends stair located in his cabin, carrying a lantern that he switches on part way down.)

 

Light:  On that signal, more light comes up in hold and stairwell.  The captain is visibly grieved as he looks briefly at Laura and her child.  He fully comprehends that the child will soon to be drowned.

 

Music continues under dialogue:

 

John:   (head in hands, seated at the bench of the table on end near the stair.  Sees captain

              and looks up).  Captain.  What's happening up there?

 

Elizabeth:  (holding little Nancy, is seated on bunk, blanket acting as their door is up so we

               can see them).

 

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.

 

Crowd:  (as he speaks, people begin to peek out of staterooms, some venture all the

              way out into the table area, grab hold as they are tossed almost to the floor)

 

Richardson:  I'm sorry, everyone.  I have done all in my power to save her, but the sea has

won the fight. 

 

Crowd reaction (some fear, but most show concern supported by their faith in Jesus Christ)

 

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.

 

Crowd:   (reaction again)

 

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.[48]

 

Richardson:  I don't think you understand.

 

Glover:   Oh, we understand.  Don't worry, Captain.  We left for California and we Shall

             get there!"

 

Richardson retreats up the stairs followed by John as passengers and antiphonal chorus sing:

Song No. 14c:  God Moves in a Mysterious Way

 

GOD MOVES IN A MYSTERIOUS WAY, HIS WONDERS TO PERFORM.

HE PLANTS HIS FOOTSTEPS IN THE SEA, AND RIDES UPON THE STORM.[49]

 

The two men emerge onto deck inside Captain’s cabin.

 

Sound:  A great crash of thunder is heard again.  Cast continues to sing below them.

Sounds of wind and rain very loud.

 

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.[50]

    

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?[51]

 

Richardson:  (nods his agreement)

 

The two men, kneel, bow their heads in prayer as the lights dim. Passengers below pray also.

 

Only Antiphonal choir sings:

I'LL STRENGTHEN THEE, HELP THEE, AND CAUSE THEE TO STAND.

            UPHELD BY MY RIGHTEOUS, OMNIPOTENT HAND.  

 

Scene 14

 

Storm music changes to calm:

 

Sounds: Rain ceases.  The howls of the wind die away, Off to one side, we see daylight gleam through a break in the clouds (if you have a cyclorama)  If there is no cyc, then aim a gold-colored light on a piece of the ship set to represent the sun breaking through.  Sailors rush to rail and look.  Captain Richardson and John, look at each other and rejoice.  We see ship passengers creep from their beds, begin to clean up. Sailors, release helm, release the sails etc. 

Children rush to deck, bedraggled parents close behind.  The Nichols come with a bundle in a blanket and quietly drop it over the side.  Some people comfort them.  Others are busy and don't notice.

 

The following bits of dialogue happen nearly on top of each other, giving a feeling of exhuberant relief from the near drowning.  Keep the pace fast while clean up of ship described above takes place.

 

Nancy:  Emerette!  Look.  Sunshine!

 

Emerette:  Thank God!  We’re saved. (they hug each other)

 

Elizabeth (rushes into John's arms):  I don't think I want anymore

excitement for the rest of the trip.

(They hug and move off to another part of boat)

 

Nancy:  (running to Laura)  I don't need my wrap, Mama.  I'm not cold now.

 

Laura:  (taking it) You don't?

 

Sailor: (happening by)  We're near the tropics, Ma'am.  From now on, it will be warmer.

 

Phoebe:  (rushing up to deck) Anyone seen my husband? 

 

Crowd:  Doctor!  Doctor Robbins, you're needed.

 

Phoebe:  It's Brother Ensign.  He's real bad.

 

Dr. Robbins:  (hurrying over) Who?

 

Phoebe:  (as they enter stairwell) Elias Ensign.[52]

 

We see into hold as Dr. attends Elias, while family members gathered near him, watch and worry.  Dialogue on deck continues uninterrupted. 

A very pregnant Mrs. Burr is near Eliz and John.

 

Elizabeth:  Sarah Burr, you are very brave to be on board with a baby so close.

 

Sarah:  I thank the Lord that he wasn't born in the storm.

 

Elizabeth:  Amen!  (looks at her closely)  Are you all right?

 

Sarah (grabs her stomach) Oh, oh!

 

Nancy (comes closer, wonders about what she sees)

 

John:  (rushes to hatch and shouts down).  Dr. Robbins.  Another patient coming down.

 

The action picks up its frenetic pace again.

 

Charles (taking wife by arm, assists her down the stairs).

 

Dr. Robbins, (coming to see who it is)  Oh, Sarah, not already!

 

Sarah:  Afraid so. 

 

Charles (puts her into the stateroom)

 

Nancy:  (very worried) What’s the matter with her, Elizabeth?

 

Elizabeth:  She’s going to have a baby!

 

Nancy:  Oh!  (Is excited, runs to tell Emerette)

 

Crowd:  (gathers, children push to front. ad libs of what's happening)

 

Dr. Robbins (steps inside the room)

 

Charles, (as he lowers the blanket over the door) Better find something else to do,

children. (blanket shuts, parents shoo them off)

 

Elizabeth:  (On deck, looking over to Nichols, confides in her husband)  John, the Nichols

 lost their baby.  Look at them.  (shakes her head sadly)  I couldn’t bear to lose

a baby to the sea.

 

John:  We never know what we will have to bear.  That baby is God’s child. (indicating the

heavens).  I know he’ll go to place of joy, not of tears.  He’ll be waiting, when his

parents leave this life.[53]

 

Elizabeth:  Still, I hope I don't have to lose a child.  That would break my heart, even if I

knew that he would be with God.  It's so hard to say goodbye.

 

Sound:  New baby cry

 

Lights fade out on deck.  Light focuses on the closed blanket door

 

Dr. Robbins:  (stepping out of Burr's, hugging Charles) It's a boy!

(After the hug, sees the frightened look on faces of the Ensign family, pushes through the crowd toward them.) 

 

Lights intensify on Elias bed area as Dr. Robbins nears, fading slightly on Burr Stateroom.

 

Dr. Robbins (offers ad lib comforting words to the family, sees Elias die, heads falls to one

side.  For the following line he indicates the Burr Stateroom 1st, then Brother

Ensign’s still body)

The Lord giveth and the Lord taketh away. (covers Ensign’s face with sheet)

 

Ensign Family:  (grieving as lights fade out.)[54]

 

Lights out on ship.  Lights up on Horner Interior:

 

Actors on boat are portraying the events as Old Horner describes the:.

 

Scene 15a:  Horner Interior

 

Horner:  The endless days dragged on.  Finally, we left the heat of the tropics and neared the

Horn, the supreme test of every sailing man's skill.

 

David:  Why was that so difficult?

 

Lights up come up on deck area of ship.

 

(A few passengers are gathered in worried conversation groups.  Richardson and his men on deck, Richardson right by the helm.  The sailors during dialogue are working the sails, ropes, etc. old Horner explains the voyage.)

 

Staging Suggestion:  Laura Goodwin and Phoebe Robbins offstage adjust costume to show

that they are now pregnant.

 

Horner (continues without break) The area is plagued with violent, changeable winds

carrying hail and sleet.  The waves there tower higher than in any other part of the

world.  It was early April when we reached those dangerous waters.  Even so, the

Westerlies outnumbered the Easterlies three to one. 

 

David:  (finding the term unfamiliar) Westerlies?

 

Horner:  The winds that blow from west to east.  (uses hands to demonstrate)

 

David:  The wrong way for your ship.

 

Horner:  Exactly.  So, the Captain used a west-blowing breeze to travel south for four

 straight days (uses hands to show the direction of these these sailing maneuvers)

until he was far beyond the coast and it's dangerous, submerged rocks.

 Each time he found an eastern wind, he would work toward the Pacific.  Finally, on

April 10th…[55] 

 

Scene 15b:  On deck

 

Richardson, (clapping the helmsman on the back)  We did it!

 

Sailors (shout with relief)

 

Crowd:  (What is going on, ad lib, some passengers rush up from the hold.)

 

Richardson:  Attention, everyone!  I am pleased to announce that you have become---

Pacific Pilgrims!

 

Glover:  You mean we've made it around the Horn?

 

Richardson (proudly): And heading north at last.

 

Crowd:  (cheer with excitement)

 

Glover:  (dashes for the hold to tell Brannon)

 

Richardson:   (follows him.)

 

John:  (to Elizabeth) You see, my faith was not in vain.

 

Elizabeth:  You’re starting to make a believer out of me.

 

John:  You mean it? 

 

Elizabeth:  I’ve been considering it all along.  Still, being baptized is no small thing.

            I must be sure.

 

John:  But you love God.  I know you do.

 

Elizabeth:  God?  Yes! …but there’s so much I don’t understand.   Why would true

followers of Christ be persecuted?

 

John:  I don’t understand everything God does.  But I do know that we were given the power

to choose what to do with our lives, whether for good or evil.  Sometimes we suffer

the consequences of other’s choices.  The point is to remain faithful despite the

trials.[56]

 

Elizabeth:  I’m faithful to God.  I’m faithful to you.  But--, if I had a choice, I’d choose to be

in California right now.  Off this boat, away from the constant motion, away from

these crowded conditions.

 

John:  We’re on the Pacific now.  Things should get easier soon.  (they head to hold as if to

go to their stateroom where they overhear the following conversation:

 

Glover:  (Below deck, finds Brannon who is in the company of Robbins and Isaac)

Elder Brannon, we made it around the Horn!    It’s another miracle.

 

Brannon:  (Studying a set of large kegs) Yet we have something else to worry about.

 

Robbins and Isaac  (are 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.

 

Phoebe:  You can’t drink it unless you strain the algae out with your teeth.

 

Robbins:  Why hasn’t it been boiled?

 

Isaac:  Can't!  We're out of fuel.

 

Phoebe:  The meat and sea biscuits are nearly gone as well. 

 

Brannon:  We rounded the cape but we’ll die of hunger.[57]

 

Richardson:  Well, Brannon.  That’s a possibility—or  we could make for Valparaiso. 

Plenty of food and water there—at a price.

 

Isaac:  We don't have any money left.  Everyone on the ship is poor. 

 

Richardson:  Do you have a better suggestion?

 

Isaac: (shakes head):

 

Brannon:  Spread the word that everyone is to pray for a speedy trip.  (men turn to leave but

he adds)  And—from now on, only one pint of water a day.

 

Robbins:  One pint!

 

Brannon:  Better than none.

 

Robbins:  (gesturing to Phoebe)  But my wife and Laura Goodwin are pregnant!

 

 

Brannon:  Can't be helped.  Twill keep them alive a little longer.

 

Robbins:  (Putting his arms around Phoebe)  We'll be sending more folk over the rail.

 

Isaac:  Heaven help us!  (shaking his head, goes up to the deck)

 

Elizabeth:  (In their stateroom, to John)  Did you hear that!  We’re almost out of water.

            So much for faith!

 

John:  Don’t be so sure.  We can choose to be disheartened or choose to hang on.

 

Elizabeth:  But how can I?  Nothing is left to eat except a few dry biscuits crawling with

worms.  Sometimes I fear the rats will leap on the table and snatch even those from

our hands.[58]  I’m losing hope, John.  Where is God?  Where can He be?  How can I

hang on?

 

John:  (offering his arm)  Use this.  Maybe it will help.

 

Elizabeth:  (takes it, puts her head on his shoulder, sighs)  Maybe. 

 

Song No. 15a:  Is There an End?

 

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)

           

The music rolls on as John and Elizabeth go to the rail and stare out at the endless sky made blue on the cyc. (If you have no cyc, use colored lights to create sunset effect during the scene) As they gaze out, a heavenly choir(antiphonal choir) sings Let Not Your Heart Be Troubled.  Elizabeth leans heavily on John’s shoulder, seeking comfort.  Off in the distance, the sky takes on a rose tint and as the song progresses, we watch the sun set. John and Elizabeth become black silhouettes, then they and other passengers descend into hold. Evening deepens, lanterns are lit, and for a few moments we see dim figures of sailors doing their duty, then dawn arrives.  As the sun rises the next morning, the first ray of light might catch some distant peaks.

 

Song No. 15b:  Let Not Your Heart Be Troubled

 (choir)

 

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.

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.[59]

 

 

Sailor:  Land, ho!  (hands spyglass to Richardson)

 

Richardson:  I see the mountains of Valparaiso!  We're almost there.

 

The news spreads among the passengers.  The disheartened attitude evaporates as they dream of fresh vegetables and clear water.  Voices get louder.  Can hear them planning what they will do on dry land, ad lib. Brannon and Glover rush to Capt.'s side.

 

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.

 

Brannon:  (somewhat reluctant) Oh, all right! 

 

Musical No. 16:  Sea Biscuit (dance)

 

Music turns playful as cooks and single women serve the passengers moldy sea biscuits.  A brief dance ensues.

 

Lights:  during dance, the sky begins to grow dark as a storm brews in the distance.

 

Sailor, (toward end of dance, interrupting, pointing)  Captain.  Look there.

 

Richardson (grabs the spyglass)

 

Dance is reaching it's peak of elation.

 

Richardson:  Storm![60]

 

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)

 

Glover:  Come, Elder Brannon.  We need to move quickly.  (shouting) Everyone!  Time to

go below.

 

Crowd (not quite so cooperative, move in disbelief, great disappointment toward hatch)

 

Sailor:  All hands on deck! 

 

Lights:  No lights in the hold at this time.

 

Storm sounds crescendo:  wind wailing and rain falling, gradually getting stronger.  Crowd hurries to hatch.  On the deck of ship, sailors working feverishly.  

If you have a fog machine, use it here.

 

Laura Goodwin, who is now obviously pregnant, is carrying Isaac.  As she attempts to enter the hatch, he wiggles out of her arms and runs away.  The lights are lowering.  We barely see…

 

Laura:  Isaac, come back here!  (she grabs him, tries to step into opening

   Isaac is wiggling.  She struggles to climb inside) 

 

Sound:  Roar of wind.  Ship lurches—Sailors grab for holds to keep from getting tossed.

.

Laura:  inside hold, screams as she disappears from sight into the dark.

 

Child:  Mama! 

 

Lights:  Lightening.

Sound:  Crack of thunder.

 

Hold is still dark.  Noises of the accident are heard:  Child crying.

 

Voice:  What happened?

 

Goodwin children:  Mama!

 

Passenger reaches up to light a lantern and freezes in position until..

Light up in lantern. Laura is seen fallen, injured.

 

Isaac:  Dr. Robbins!  Quick.  Laura's hurt and she's gone into labor.[61]

 

Lights down in hold

 

Sound:  storm howling.  

 

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![62] 

 

Scene 16a – Horner Interior

Lights up on Horner Interior, out on ship.

 Storm sounds fade away as on stage the Goodwins and a few cast members enter "on land."

Leave Ship pieces in background.  Set this scene on apron.

 

Horner:  On May 4th,  we landed on the Juan Fernandez Island and our lives were

spared—all but one.  Laura Goodwin passed away before we reached land.

 

Scene 16b – Beach at Juan Fernandez Island

 

On stage, group of men carry Laura Goodwin in and set her down, others, carrying shovels continue past her and off stage as children gather around her, clinging to her clothes, ad lib their sorrow.  Horners, Robbins, Stark, etc. huddle in background as Brannon offers these words:

 

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.”[63]  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:  (pulling them gently away).  Come away, children. 

 

Pall bearers, pick up Laura and carry her off stage.

 

Nancy:  (watching the pall bearers fearfully) 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.

 

Nancy:  But I want to go with 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 takes Lucinda by the hand)

 

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![64] 

 

                             Song No. 17:  This I Know

 

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.[65]

 

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 HAD TOLD ME SO. 

            YOU WILL NEVER WALK ALONE.  THIS I KNOW.[66]

 

Nancy: But I need Mama now.

 

Elizabeth:  Then let’s be quiet together so we can hear.

 

Laura: (dressed in white, enters during the child's request and sings, as she takes

Nancy into her arms.  Nancy is not aware and is facing Elizabeth.  Slowly she raises

her face skyward as if listening)

 

Laura sings:  FAMILIES ARE FOREVER.  GOD HAS MADE IT SO.

 

Elizabeth (takes Nancy and draws her back to the ship)

 

Laura (reaches out to touch her daughter gently on the head, then begins to withdraw,

As she continues to sing):

I WILL ALWAYS WALK WITH YOU. 

 

Elizabeth and Laura:  THIS I KNOW.  THIS I KNOW.

 

Music turns from plaintive to comforting.

 

Scene 17a – Horner Interior

 

Lights up on Horner Interior and gradually come up on ship deck.

           

Horner:  By the end of the week we set sail for the Sandwich Islands, our hold bulging                    with fresh vegetables, fruit, meat, and clear spring water.  The warm weather and             smooth ocean made the journey to Oahu pleasant. 

However, when we unloaded some cargo, we heard that war with Mexico had begun.

The thought of war filled us with dread.[67]

 

Below on the Brooklyn, people are on the deck, looking into the distance anxiously.

 

Staging:  If you have a fog machine, use it here.

 

Horner (continuing) We traveled for four more weeks.  On July 31, 1846, we reached

our destination.           

                                                                                   

Lights out on Horner Interior.

 

Scene 17b – Deck of Ship

 

Sailor:  (standing at railing with spyglass) Captain.  Look.  There it goes again. 

Harbor seals or sea lions   Hard to tell.  San Francisco Bay has got to be out in that

fog somewhere.

 

Richardson (takes glass, has a look)  Yes, I see something jumping.

 

Brannon:  That's a wonder.  The mist is as thick as a winter's robe.[68] 

 

Sailor:  Not out that way.  It appears to be thinning.

 

Crowd:  (noises of excitement, pointing, etc.)

 

Richardson:  (continues without pause) When we saw those gulls yesterday, everyone got

so excited, I don't think they even went to bed.

 

Sailor:  Who can blame them.  I'll be glad to feel land under my feet again.  Six months

is a long, long time.                                                                        

 

2nd Sailor:  (approaching rapidly, interrupting) Captain, there appears to be a warship in the

bay.

 

Crowd:  (reacts fearfully to sighting of warship).

 

Sound:  Warship salutes with cannons.

 

Brannon:  What do those shots mean?  Trouble?

 

Richardson:  (relieved) No, sir.  It's a welcome.  That’s a U.S. ship.  (turning to a sailor)

Sound an answer, ensign.

 

Sailors (raise muskets)

 

Richardson:  On my mark.  Ready.....Fire![69]

 

Crowd begins to cheer and wave as

Music swells.

 

John, (hugging Elizabeth):  Welcome to California!  We’ve made it!

 

Music swells to joyful crescendo while lights dim as music finishes.

 

 

Act II (if there is no intermission, then action continues)

 

Scene 1a – Horner Interior

During the light change, remove boat scenery.  Passengers move into “California,” but indicate that they hear of gold and race off to dig which they do during this dialogue. John and Elizabeth react as if they want gold also.

                     

David:   So, Mr. Horner, at last you found your freedom in California.  And I suppose you

raced to the gold fields as soon as it was discovered.  Is that how you got your start?

 

Horner:  We went to the gold fields, but the temptation of those riches turned many men into

criminals.  People began to steal, even kill-- just for a few ounces of gold dust. 

 

David:  Doesn’t sound like the scene I had imagined.  What did you do?

 

Horner:  (showing his disgust for the gold fields) We left.  Returned to our farm near

Mission San Jose, but found that our untended crops were ruined.  Insects devoured

most of them.  Cattle roamed free and ate anything not protected.  I learned in a

hurry, I had to fence my fields.[70]

                                          

                                               

Scene 1b:  Lights out on Old Horner, stay up on gold miners and come up brighter on area of stage where John and Elizabeth are planting.

           

Musical No. 18:   FENCES (dance)

(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.

 

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.[71]

 

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.[72]

 

REFRAIN:  (immigrants—male and female dance this out to a double length

Version of refrain)

 

NEWS FROM UTAH CAME AT LAST.

NEEDED FOOD AND MONEY FAST.[73]

JOHN SENT AID THAT VERY DAY.

HELPED THOSE BRETHREN ON THEIR WAY.

 

REFRAIN:  (miners are still buying food, from Elizabeth in the dance.

John seen handing money to missionaries needing passage to the Pacific.)

 

MONEY CAME A-POURING IN

SO DID JOHN AND LIZZY'S KIN.[74]

BOUGHT MORE LAND AND STRETCHED MORE FENCE.

ALL THAT WORK, IT WAS INTENSE!

 

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.  Refrain is double length for this)

 

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)

 

THE POOR AND LOWLY CAME ALONG.

EACH ONE WITH THE SAME OLD SONG.

 

(small group of ragged folk with very good diction)

WON'T YOU HELP, KIND SIR, WE PRAY.

 

(caller)

HE WOULD NOT TURN A SOUL AWAY.[75]

 

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.  Refrain double length again)

 

 (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 Horner Enterprises.)

 

Lights up on Old Horner Interior:

 

 (Lights continue on scene of people work more and more acres.  John sits down and starts doing paper work.  With each sentence, his “office” gets more elaborate…second chair, lamp, More papers, waste basket, plant stand and fern, 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.  All "workers” act out what John is saying about his ventures.  John can ad lib commands to his staff as Horner explains.  This scene 1850's)

 

Scene 1c:  Horner Interior (Lights up on Interior and remain up on stage)

 

On stage, the dancers continue to build Horner’s Empire. Once it is built, some remain to “work” the fields, the rest exit.

Music underscoring:  My Father’s Fields

 

Horner:   So we fenced and planted 500 acres.  Grossed 150,000 dollars.  That was the

real beginning of our success.  Entered the first agricultural fair.  Here’s my

silver goblet award to prove it.[76]

 

David:  (reading) First Farmer of California.  Wow!  That must have made you rich.

 

Horner:  Oh, no.  It’s one thing to grow it.  It’s another thing to sell it.

So we started a trading house in San Francisco, then bought land on the Alameda

River, laid out Union City.  Then, purchased a steam boat to deliver our crops to

San Francisco.   Next, we started a mill at Union City so we could grind our grain. 

One thing led to another.  Opened public roads from Mission San Jose up along the East Bay and started a stage line to connect our shipping ports to villages along the bay.  We kept purchasing land, leasing it out,

handling the sale of crops, working from dawn to dusk.

 

David: People far and wide heard the name, J. M. Horner & Company.[77]

 

Music ends.

Set:   a second office suggested by a single table and chair, a few paper is created off to one side preferably upstage.  If you have a level, place it up there.  This will become Hickman’s headquarters later in the following scene.

 

Lights:  out on most of stage.  Light only John’s office.

 

Scene 2:  John’s Office at height of his financial career (a desk, some chairs, potted plant, place for his silver loving cup he won at the state fair.  John is busy with paper work, now wears a business suit.) 

 

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.

 

Song No. 19:  Lining My Pockets

 

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!

            (enters his own office, as it were.  A rough desk and a chair)

            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? (goes to door,

            Calls to those on the street)

 

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![78]

 

Husband Passerby: (takes the deed, digs in his pockets, wife empties her purse)

A small downpayment?

 

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: (climbs to first level from stage floor, 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.

 

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 is expensive.

 

John:  So I’ve discovered.

 

Stranger:  I can take out 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.[79]  (Stranger returns to Hickman.  Hickman

congratulates him, takes the paper, then  sends squatters to climb fences)

 

Meanwhile office runner brings in stack of mail.

 

John:  (opens the mail)

 

William:  (enters)  Any news.

 

John:  It's an attorney.  It seems the United States does not recognize our title.

 

William:  (upset) What!  To the farms?

 

John:  All of them. 

 

William (more upset)

 

John (attempting to console William) I’ve hired attorneys.  But the district court

sends our cases to a higher court, and on it goes.  Endless delays.

 

William:  (fed up) We’ll end up paying for our land all over again.

 

John (nods, looking a little bewildered, but trying to keep calm)

 

William:  John, I’ve been meaning to tell you.  I visited some of our farms and found that

people have climbed the fences, built shacks for shelter, and claim our property,

even claim what we've planted.

 

John:  I’ve had to take that to court, too.[80]

 

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) You know, William, Brigham Young wrote me a letter.

 

Wm:  Yes?

 

John:  He said, “Get out of debt, while times are good, and keep out.”[81]  Suggested 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.)

 

(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.

This is repeated over and over until there is a constant threat from the squatters.)

 

Son William:  Father, we rode as fast as we could.  Some squatters broke into another

section of the farm.  They won’t leave.  They said they bought the land.

 

Hickman (now consorts with bankers and politicians who laughs quietly in anticipation).           

 

John:  That is another thing that the lawyers will have to sort out. (writes out a message,

hands it to the runner)

 

Lights brighten on the other side of the stage where the  group of business men converse with Hickman, deep in conversation, planning around his 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.

 

Crony:  You don't expect us to go grubbing in the dust like the hoards out there?

 

Hickman:  Well, sirs.  That… won’t be necessary.   

 

SONG No. 20:  THE GOOD, OLD FASHIONED WAY

 

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!

 

(Meanwhile in John’s office…he is pacing, worried)

 

Sarah Elizabeth (runs in hugs her daddy).  Daddy!

 

John:  (brightening up) How's my little angel? I’ve missed you so much!

 

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.

 

Son Wm:  What are we going to do?  That’s our land! 
 
John:  (consoling him) I know. We’ve worked hard planting and fencing …and..

 

Elizabeth  (Intercedes with a sigh as they both try to console their son.) Oh, John.

 

Sarah Elizabeth:  (clinging to Daddy, getting in the way)

 

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).

 

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 if we lose all our land.

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. 

 

Father Horner: I don’t know.  It doesn’t make any sense. You haven’t signed any loans, have

you?

 

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![82]

 

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.[83]

 

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 such a loan cost? 

 

Hickman:  $2,000 a month, in advance…of course, that’s just the interest.

 

Elizabeth:  (confronting Hickman) That's outrageous!

 

Hickman:  (abruptly turning on her) What did you say?

 

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, several children arrive.  Kenfields wait outside.

 

Mother Horner:  (enters)  John, William!  It’s terrible what’s happening.  The banks are

taking everything.  The farms and  businesses near us.  They’re all closed,

boarded up.  Big for sale signs on them.    Mr. Kenfield shot himself in the head

when they came to drive him out.[84]  His wife doesn’t know what to do.

 

John:  (shocked, but reacting as he always has, with concern for others) Where is she?

 

Mother Horner:  Outside.

 

John, Eliz and William go outside:  Elizabeth puts are around Mrs. Kenfield.. 

In the background we see desperate people straggling along the imaginary

roads of John Horner’s lands.

 

Mrs. Kenfield:  (she is crying)  I don’t know what to do Elizabeth.  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) (We see him try to get food for the Kenfields, squatters drive

him away.  Eventually he manages to get a few things and brings them back.)

 

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! 

(Lights dim as son Wm drags back with a small bag of food)

 

Scene 3 – What’s left of John’s office

 

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 removethe 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)

 

Hickman:  You can take the desk now.  (they do so, and the chair)  Oh, one last thing.  That
            pocket watch you're so fond of.  As you say, time is money.  (turning hard)  I want
            my money now!

 

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.

            You just didn't listen.  Some people dig their own graves!

            (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! 

 

Music begins—Father's Fields.

(Crumples Brigham's letter, throws it to the ground at his 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.

 

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?

 

Elizabeth:  John, what is there to forgive?

 

John:  I could have spared you this tragedy had I listened to Brigham Young. 

He tried to warn me. 

 

Scene 4:  John’s farmland

Music continues. 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.

 

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!

 

Elizabeth (Looking upward, as if trying to reach into heaven)  Oh, God!  I can’t bear this. 

It’s too much![85]

 

Lights dim, music begins.  Family moves off to side, in a huddle of grief.  Lights dim

on them, center on Elizabeth.

 

Song No. 21:  LOSS

 

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 FACE IS WET WITH FALLING RAIN

THAT TUMBLES FROM MY EYE.

WHY DID SHE HAVE TO DIE?

 

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, then reaches for Sarah who rises andtakes 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:

           

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.

 

Lights dim on them, come up on….

 

Scene 5:  John’s Rented House, bedroom

           

Elizabeth and Father Horner:  (enter, the children just behind them, finds John collapsed on

the bed) 

 

John:  (begins to squirm from pain)

[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.

 

Father Horner: (to his grandparents) Someone, fetch Doctor Robbins.  Quick!

 

Wm, jr. (runs out)

 

Father:  (to John) Hang on, son.  Help will be here soon.  (puts an arm around Elizabeth to

comfort her)

 

Lights fade out, music continues, 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 parents, brother Wm. are there.

 

Doctor Robbins:  It’s not good, Sister Horner.   He’s got lockjaw.

 

Elizabeth:  What chance does he have?

 

Robbins:  (looks down, takes deep breath)  Next to none.

 

Elizabeth:  Oh, please, doctor.  Can’t we bathe the wound, apply poultices…

 

Robbins:  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)[86]

 

Children:  (two stay with John, others 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 about the mortgage?

 

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:  (wraps them in loving arms while Father comforts Elizabeth)  You can pray.

 

Music segues into prayer, family members embrace each other for comfort.  John

turns away in desperate prayer, begging for help.

 

                        Song No. 22:  Test of Faith

 

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:  (coming 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 (desperately, unable to bear his pitiful cries):  FATHER IN THE HEAVENS

                        HEAR THY DAUGHTER'S PLEA.

                        PLEASE SPARE MY LOVE.  GIVE HIM BACK TO ME!

            (she crumples onto the edge of bed 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)

 

Stacey:  Elizabeth, don't keep him here any longer.  Daughter, let him go!

 

Elizabeth:  (nods, but is too grieved to speak)

 

Stacey: (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,

            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[87].

Lights fade down on family, rise to 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.[88] 

 

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)

 

Elizabeth:  (looks up, sees John's withered hand release it's pain induced grip)  Look!

 

Lights widen to include family in a soft glow.

 

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, upcenter.  They do not leave, but are like shadows now.

 

Scene 6: Lights come up full on Horner Interior, less light on stage family.

 

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.

 

Old Horner:  Slowly, painfully, I regained my health and with it, my hopes returned.

 And sometime later I received an offer to begin again--not in California but in

Hawaii, joining my son who was already there.  And thus ends the story of the

first East Bay Pioneer.[89]

 

David:  Amazing (starts gathering up his papers, looks around). I see that providence

has smiled on you again.

 

Horner:  That it has.    (hands various articles to David) Here are some of the things I've published.  May help you for reference.  Have I given you enough material for your story?

 

David:  (juggles quite a pile of documents) Plenty.  I’ll have a hard time choosing what to

include.

 

Horner:  Choices are what life is about.  I wish I’d made some different choices.

 

David:  (puzzled) You were very successful.

 

Horner:  In business, perhaps, but I should have paid more attention to my children. I wish

I’d taught them how to hear the whisperings of the Holy Ghost.  Had I followed

those whisperings myself and acted on advice from the prophet, I wouldn’t have lost

my business and caused my family to go through so much pain.

 

David:  But disasters can strike anyone.

 

Horner:  That’s true, but there’s no need to invite disaster.   So, if a prophet ever advises

you, young man, do what he suggests.  Don't put it off until it’s too late. (walking

him out)

Good luck with your story--and your choices.

 

David:  Mr. Horner.  You are a fascinating man.  (shakes hands) I started looking for

a story about changes and find myself---changed.

 

Horner:  (gesturing up) He does that to you.  Before you go, I’d like to give you

something else. (hands him hiscopy of the Book of Mormon)

 

David:  Your Book of Mormon?

 

Horner:  You don’t have to take it.

 

David:  (Looks it over carefully, claps old Horner on arm)  I’d be a fool not to.

Part of my research you know.  When you want to learn something, there's nothing like going to the source.

 

Horner: (grinning) Exactly. 

 

David: (leaves old Horner with book in one hand, suitcase in the other, but his curiosity gets

 the best of him.  He opens the book to see what is inside.  Remains on stage,

scanning the pages.)  

 

Young John, still recuperating in lower scene, his family around him, is now attempting to sit up once again.

 

Finale:  At John’s bedside

 

Song No. 23:  There are Times (Finale)

 

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.[90] 

 

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.[91]

 

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.

 

           

                                    The End   

 

 

                                                                                   Bibliography

 

The Book of Mormon

The Doctrine and Covenants

The Holy Bible, Authorized King James Version

The Pearl of Great Price

"The Living Christ", The Testimony of the Apostles, The Church of Jesus Christ of Latter-day Saints,

   January 1, 2000.

Andrus, Hyrum L., Anticipations of the Civil War in Mormon Thought, Brigham Young University Extension  

  Publications, 1966

Bagley, Will, Ed., Scoundrel’s Tale, The Samuel Brannan Papers, Spokane, The Arthur H. Clark

   Company, 1999.

Baugh, “From High Hopes to Despair”, Ensign, July, 2001.

Berrett, William E. & Alma P. Burton, Readings in L.D.S. Church History, Vol. II, Salt Lake City, Deseret

   Book Company, 1955.

Carter, Kate B., Our Pioneer Heritage, Volume Three, Salt Lake City, Daughters of Utah Pioneers, 1960.

Cornwall, Spencer, Stories of our Mormon Hymns, Salt Lake City, Deseret Book Company.

Cowan, Richard O. & William E. Homer, California Saints, Provo, Brigham Young University, 1996.

Crockett, David R., “The Voyage of the Brooklyn,” www.indirect.com/crockett/brooklyn.html.

Everett, Amelia D., "The Ship Brooklyn," California Historical Society Quarterly, Vol. XXXVII, No. 3,

   September 1958, Pages 228-240.

Eyring, Henry B. “The Family,” Liahona, October, 1998.

Gertch, Audrey, Some Went by Water,

Glover, William, The Mormons In California, Los Angeles, Glen Dawson, 1954.

Goodwin, Goodwin Family History, Published by the Family.

Green, Doyle L., "John M. Horner, California's 'First' Farmer," The Improvement Era, April - May, 1951.

Haight, David B., “Families are Forever,” General Conference, October, 1976.

Hansen, Lorin K., “Voyage of the Brooklyn,” Dialogue: A Journal of Mormon Thought, Vol. 21:3, Autumn

   1988.

Hansen, Lorin K. & Lila J. Bringhurst, Let This Be Zion, Salt Lake City, Publishers Press, 1996.

Hartley, “The Pioneer Trek: Nauvoo to Winter Quarters,” Ensign, June, 1977.

Higgins, F. Hal, "John M. Horner and the Development of the Combined Harvester," Agricultural History,

   Vol. 32. No. 1, 1958, pages 14-24.

Hinkley, Gordon B., Conference Address, “The Times in Which We Live,” October, 2001.

Horner, J. M., National Finance and Public Money, Settling the Money Question, Government Ownership of

   Railroads and Telegraphs, Personal History of the Author, Honolulu, Hawaiian Gazette Co., 1898.

Horner John M., “Embracing the Struggles and Triumphs of a Long and Busy Life,” Improvement Era, Vol.

   VII, May –  September, 1904.

Horner, John M., “Looking Back,” Improvement Era, Vol. VII & VIII, October & December, 1904.

Horner, John M., “Voyage of the Ship ‘Brooklyn’, “ Improvement Era, Vol. IX, August – September, 1906.

Hymns of The Church of Jesus Christ of Latter-day Saints, Salt Lake City, The Church of Jesus Christ of

   Latter-Day Saints, 1985.

Jordan, Ralph B., “The Story of Sam Brannan,” Improvement Era, Vol. XXXIX, July, 1936.

Justesen, Elaine A. G., John M. Horner, Family manuscript copy of his life story as written and published

   in "The Improvement Era" during 1903-4 with annotations, 1991.

Kimball, Edward L., editor, Teachings of Spencer W. Kimball, Salt Lake City, Bookcraft, 1982.

Kimball, Spencer W., “What is True Repentance?,” www.lds.org, Gospel Library.

Larson, Andrew Karl, Erastus Snow, The Life of a Missionary and Pioneer for the Early Mormon Church, Salt

   Lake City, University of Utah Press, 1971.

LDS Curriculum, Teaching Guidebook, Salt Lake City.

McConkie, Bruce R., Mormon Doctrine, Salt Lake City, Bookcraft, 1966.

Monson, Thomas S., “The Spirit Giveth Life,” Ensign, May, 1985.

Morse, John F. editor, The California Farmer, San Francisco, February 2, 1854.

New York Journal of Commerce.

Oaks, Dallin, “Weightier Matters,” BYU Devotional, Febrauary 9, 1999.

Patton, Annaleone D., California Mormons by Sail and Trail, Salt Lake City, Deseret Book Company,

   1961.

Roberts, B. H., A Comprehensive History of the Church, Salt Lake City, 1930.

Ship Brooklyn Association, www.shipbrooklyn.org.

Smith, Joseph, History of the Church, B. H. Roberts, Salt Lake City, Deseret Book Company, 1973.

Smith, Joseph, Lectures on Faith, Salt Lake City.

Smith, Joseph, Teachings of the Prophet Joseph Smith, Salt Lake City, Deseret Book Company, 1972.

Smith, Joseph Fielding, Essentials In Church History, Salt Lake City, Deseret Book Company, 1979.

Snow, Erastus, Journal, January, 1838 – June, 1841, Church Historian Microfilm. Salt Lake City.

Sonne, Conway B., Ships, Saints, and Mariners, Salt Lake City, University of Utah Press,  1987.

The Contributor, Mutual Improvement Association, Salt Lake City.

The Friend

Times and Seasons.

Watson, Elden J., Manuscript History of Brigham Young 1846-1847, Salt Lake City, 1971.

Widtsoe, John A., Discourses of Brigham Young, Deseret Book, Salt Lake City, Utah, 1977.

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] See www.templehill.com for information regarding her life

[2] See bibliography for reference material on John Meirs Horner

[3] The California Farmer, John F. Morse, editor, San Francisco, Feb. 2, 1854.

[4] For photo, see “The Ship Brooklyn Saints,” in Our Pioneer Heritage by Kate B. Carter, SLC Daughters of the Utah Pioneers, Vol. 3, 1960 p. 509

[5] Justesen, p. 2.

[6] 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.

[7] Horner Family found in IGI;

[8] John’s personal standards quoted by Carter, p. 548.

[9] Genesis 37-47; 2 Nephi 3-4

[10] Job 1-3,42; Ezek 13:14; James 5:11; D&C 121:10; See L.D.S. Bible Dictionary, “Job”.

[11] D&C 88:118; 1:28; 2 Nephi 2:14

[12] 1 Cor. 13:4; D&C 121:39-46

[13] 2 Nephi 9:42-43; Mosiah 3:19

[14] D&C 88:124; D&C 42:42; Proverbs 6:6-9

[15] Justesen, p. 2, also Carter, p. 549.

[16] See Erastus Snow Biography, Chapter 6, “Mission to the East;” John’s experience in Carter, p. 549.

[17] Read Erastus Snow, The Life of a Missionary and Pioneer, Andrew Karl Larson, University of Utah Press, 1971, Chapter 1 – St. Johnsbury.

[18] Moroni 10:4; 1 Nephi 15:11; Enos 1:15; Matt. 7:7-8

[19] 1 Nephi 1:2

[20] D&C 6:23, II Nephi 9:6, 13; Eph. 3:19; 1 John 3:1

[21] John states this expectation in Carter, p. 549.

[22] Carter, p. 549.

[23]  Erastus Snow found the building of Nauvoo to be like music, Larson, p. 63.

[24] 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

[25] Titus 1:2; Moses 1:39; 2 Nephi 2:16, 27; “Weightier Matters,” BYU Devotional, Dallin Oaks, 9 Feb 1999.

[26] JS History 1:72

[27] Carter, p. 549.

[28] Mosiah 2:38; “What is True Repentance?” Spencer W. Kimball,  (www.lds.org, Gospel Library); LDS Curriculum: Teaching Guidebook, Lesson 9, “Use a Variety of Teaching Methods”

[29] John’s youthful employment described in  Carter, p. 549.

[30] Matt. 13:3; D&C 4.

[31] Sunday School Curriculum, “Our Heritage” Chapter 4; Baugh, “From High Hopes to Despair” Ensign, July 2001; Hartley, “The Pioneer Trek: Nauvoo to Winter Quarters,” Ensign, June 1977.

[32] Brigham Young, Discourses, selected and arranged by John A. Wdtsoe, Salt Lake: Deseret Book, 1954,4:371; 8:147-148; 8:124.  Further reading see History of the Church, p. 480, D&C 87, Hyrum L. Andrus, “Anticipations of the Civil War in Mormon Thought,” BYU Extension Publications, 1966, p. 15.

[33] California Saints, Richard O. Cowan and William E. Homer, Brigham Young University, Provo, Utah 1996, p. 15.

[34] John was personally acquainted with Brigham Young, see Carter, p. 549.

[35] Read History of the Church 7:520-22; Times and Seasons 1 Dec 1845; “Some Went by Water” by Audrey Gertsch, p 1-2; “Voyage of the Brooklyn,” Lorin K. Hansen, p. 47.

[36] For examples see History of Church, VII p. 486-488

[37] Originally in New York Messenger 1845, Times and Seasons 6 (1 Feb. 1846) 1112-14; also California Saints, Richard O. Cowan and William E. Homer, Religious Studies Center, BYU, 1996, p. 24.

[38] Conway B. Sonne, Ships, Saints, and Mariners, SLC, University of Utah Press 1987 p. 32: The ship was 125 x 28 feet.  Picture of ship, Cowan and Homer, p. 35.

[39] For further details, read Cowan and Homer, p. 28-29; History of Church VII pp 578-591, Hansen, p. 48.

[40] Information on passengers read Carter 1960 (listed by family).  See also The Brooklyn Association; Jack Marshall patjack@inreach.com.

[41] Cowan and Homer, p. 25, Gertsch, p. 4.

[42] Cowan and Homer, p. 23

[43] Passenger Lists: The Friend, 1 July 1846, Honolulu, HI Vol. IV No. XIII; also Hansen, pp. 69-72.

[44] See “John M. Horner…Californias First Farmer” Doyle L. Green, editor, Improvement Era, April 1951, p. 245; Hansen, p. 49.

[45] Cowan and Homer, pp. 29-30; see also Times and Seasons, 15 Feb 1846; Goodwin Family History, “The Brooklyn”, p. 160.

[46] Description of sailors and passengers during storm provided by Robert Aitchison, Santa Rosa, CA, who sailed on square riggers for a number of years.

[47] The Mormons in California, William Glover, Los Angeles, Glen Dawson, 1954, pp. 13-14; Cowan and Homer, pp. 30-31.

[48] Glover, p. 14; Hansen pp. 52-53.

[49] California Mormons by Sail and Trail, Annaleone D. Patton, Salt Lake City, Deseret Book, 1961, p. 8.

[50] “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.

[51] 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.

 

[52] For details of deaths and births on Brooklyn, see http://www.shipbrooklyn.org;  Patten, p. 8.

[53] Teachings of the Prophet Joseph Smith, p. 107, 196; Further Reading: “Salvation of Children” in Mormon Doctrine, Bruce R. McConkie, Salt Lake City, Bookcraft 1966.

[54] Hansen, p. 53; Patten, p. 8, Job 1:21.

[55] Hansen, p. 57.

[56] 2 Nephi 2:26-30; 10:23; Alma 13:3; Helaman 14:31; Moses 4:3; Matthew 5:45; D&C 101:35-38; Teachings of Spencer W. Kimball, p. 161.

[57] Crocheron’s account written 1888, quoted by Hansen, p. 58.

[58] Account of Augusta Joyce Crocheron, quoted in Carter, p. 506.

[59] D&C 84:88; 68:6; John 14:27; Mark 5:35-36

[60] Cowan and Homer, p. 34;

[61] Goodwin Family History, p. 162.

[62] Details of Storm near Valparaiso: Hansen, p. 58.

[63] David R. Crockett, "The Voyage of the Brooklyn," www.indirect.com/www/crockett/brooklyn.html., John 11:25; further reading: McConkie, p. 637.

[64] Crocheron quoted by Hansen, p. 59.

[65] John 14:2; 2 Nephi 9:41, Luke 23:43.

[66] , “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.

[67] Cowan and Homer, p. 36.

[68] Augusta Joyce Crocheron account printed in Carter, p. 506.

[69] Cowan and Homer, p. 53;

[70] Patton, p. 83-84; Carter, p. 551.

[71] John M. Horner, Elaine Justesen, 1991, p. 7.

[72] Patton, p. 85; Carter, p. 551.

[73] Horner supported missionaries to the Pacific Islands—see Carter, p. 548.

[74] Carter, p. 552.

[75] Improvement Era, May, 1951, p. 341.

[76] “John M. Horner—California’s First Farmer,” Improvement Era,  April 1951, p. 302.

[77] Carter, p. 552

[78] Justesen, p. 10.

[79] Improvement Era, May 1951, p. 340.

[80] Justesen, p. 10.

[81] Carter, p. 554.

[82] Carter, p. 552.

[83] Improvement Era, May 1951 pp. 340-41.

[84] John describes the desperation and heartache people suffered during this time in Justesen, p. 11.

[85] Carter, p. 554.

[86] Interview with Dr Bill Sullivan regarding first hand experience with tetanus patient.

[87] D&C 84:42 “…and even I have given the heavenly hosts and mine angels charge concerning you.”

[88] Matt. 25:40.

[89] Improvement Era, May 1951, p. 341; see also “Looking Back,” John M. Horner, Improvement Era, December 1904.

[90] D&C 38:7.      

 

[91] D&C 38:7.