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 24^{th .[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.