[a.k.a. "All That Money Can Buy"]
The hill farm of Jabez Stone, in New Hampshire, some miles from the village
of Cross Corners, around 1840. It is a poor farm, stony and stingy with its
favors. The house is small, simple, bare.
A wide view of the JABEZ STONE FARM on a Sunday morning fades in, and it is
seen squatting down under the muddy, showery skies of a cold New Hampshire
spring. The grip of winter is broken -- the ground runs with water. The air
is still cold but the sun is warm at noon. It's a cold spring, but liveness
has begun to come back to the earth. It isn't depressing weather -- exciting
rather -- for after months of snow and ice, there is going to be warmth and
light, though not quite yet. But they're in the air -- on the way.
Over this scene comes the sound of distant church bells, ringing faintly from
the village of Cross Corners, and Jabez Stone, a husky young farmer in his
late twenties, gets a rather discouraged-looking horse hitched to a rattle-
trap buggy.
JABEZ
Mary! Ma! All ready? First bell's a-ringing.
Ma Stone, a brisk old woman, Jabez's mother, bustles to the door, which
stands open. She wears her best Sunday-go-to-meeting clothes and is
adjusting her bonnet, tying the strings under her chin with nervous fingers.
MA STONE
Yes, we're all ready. Mary's just coming down.
She comes out on the porch. She has a tart tongue and knows how to use it,
but when she talks to her son or her daughter-in-law, there is affection
under the tartness.
MA STONE
(helping him into his coat)
Now, son. Cheer up. We're all healthy. We've
still got meal in the barrel. And look at that
sky ...
(pointing out)
... big cracks in it like it was ice on the
mill pond cracking up to show it's spring
a-coming. If that ain't enough for a
God-fearing New Hampshire family, I want to
know.
And Ma Stone climbs up to the seat of the buggy, Jabez on her side to help
her.
Now Mary appears at the door, also dressed for church. She is four or five
years younger than Jabez, small, appealing, with rather fine features. She
looks more fragile than she is. It is obvious that she and Jabez are very
much in love.
MARY
(seeing the pool of mud in
her way, stops and calls)
Jabez -- help!
JABEZ
Coming.
He rushes from the buggy to help.
The dog, Shep, a ragged shepherd, appears from below the hill, running with a
stick in his mouth. He jumps up against Jabez's leg, wiping his mud-caked
paws on him.
JABEZ
Down, Shep! Down!
MARY
He only wants you to throw the stick for him,
Jabez. I guess he's feeling the spring
a-coming, too.
JABEZ
All right -- only he needn't dirty my pants!
He wrests the stick away from Shep and throws it far off with a mighty swing.
Shep runs after it, barking excitedly. Mary, standing on the edge of the
porch, follows the soaring stick with her eyes.
MARY
(speaking with pride)
You throw mighty far, Jabez -- almost into the
pigsty.
MA STONE
(from the buggy)
Mary -- Jabez --
MARY
Coming, Ma.
JABEZ
(as he sweeps Mary up in his
arms, carrying her to the buggy)
What is that smile on your face?
(glancing down at his clothes)
Is there anything wrong with me?
MARY
Now, Jabez! I've got on my Sunday bonnet and
I'm going to church with my husband. Almost the
first time since the beginning of winter -- and
if that isn't an occasion, I don't know what is.
JABEZ
You're right, Mary.
MA STONE
I hope we won't be too late --
She shifts her position so that Mary can get in too. The barking of Shep is
heard, and then suddenly the squealing of a pig.
JABEZ
Now, what the dickens --
And we see Shep on the SLOPE COMING FROM THE BARNS, barking excitedly and
chasing after a small pig that his barking has scared into a panic.
Thereupon, at the STONE HOUSE, Jabez stands up in the buggy.
JABEZ
(yelling)
Look at that consarn dog! Shep! Stop it! Shep!
Jabez leaps down from the buggy and heads for the bushes, chasing the pig.
Shep runs after him, barking furiously, only making matters worse. And on the
SLOPE CUTTING DOWN TO THE GULLY there unfolds a wild scene of Jabez trying to
catch the slippery pig. Both man and pig slip through the mud and fall. Once,
Jabez almost catches the pig; grabs frantically for its hind leg, but the pig
manages to break away. Finally, the pig slips over some rocks in the gully
and falls, hurting its leg. Jabez succeeds in cornering it, helped by Shep
who rounds it up as he would a sheep, and Jabez carries the pig back toward
the house, his clothes now a sight with mud and wet.
At the STONE HOUSE:
MA STONE
Well, I guess we won't be going to church today.
MARY
I guess we won't.
Jabez emerges from the gully with the pig, still squealing, in his arms. He
comes up panting, the muddy dog following him, looking quite triumphant and
not at all guilty. Mary is near. Jabez comes up to her and they stand for a
moment looking at each other.
JABEZ
(as the pig squeals)
Quiet, Mr. Porker!
(laughing, as he struggles
to hold it)
He's worse than a greased pig at the county
fair!
They walk into the house as the rain starts.
The KITCHEN: It is the largest room in the house and very much the
pleasantest. There is a big fireplace with fire in it, crane, pot-hooks, etc.
All of the cooking is done here. A clock, with a tinny striking effect, hangs
on the wall. Jabez and Mary enter. Ma follows.
JABEZ
(looking over the pig)
I think his leg is broken.
MARY
(taking his wet trousers, hanging
them near the fire, and covering
his knees with a blanket)
Oh, Jabez.
JABEZ
(shaking his head)
Yep.
He is fitting a crude splint to the pig's wounded leg, helped by Mary, who
holds the splint while Jabez wraps it tightly with some rags torn from an old
shirt. The pig doesn't like this a bit, and often protests loudly, in the
shrill guttural of pigs.
JABEZ
I remember Dad used to say sometimes, when they
were handing out hard luck, the farmers got
there first.
MARY
Jabez, don't you remember your own wedding? We
said it's for better or worse. We said it's for
richer or poorer.
JABEZ
That's what we said.
MA STONE
(has taken the Bible
and starts leading)
"There was a man in the land of Uz whose name
was Job; and that man was perfect and upright,
and one that feared God and eschewed evil."
JABEZ
(as the pig heaves and
almost breaks away)
Consarn the consarn --
MA STONE
Jabez! What kind of talk is that for the
Sabbath? And me a-reading the holy word!
JABEZ
Sorry, Ma -- but this consar-- this little
pig -- He won't let me fix him --
MARY
(smiling)
He's stubborn as a Stone.
JABEZ
Hold the splint tighter -- it's almost done.
(As Mary holds the splint tighter)
Go on reading, Ma. This man, Job, he had
troubles, didn't he?
MA STONE
You know that, son.
JABEZ
(nodding)
Hard luck -- like me.
MA STONE
(severely)
Now, Jabez Stone -- as for what you're calling
hard luck -- well, we made New England out of
it. That and codfish.
JABEZ
That's right, Ma -- we ain't licked yet. A
Stone's never licked till he's dead -- that's
what Dad used to say, didn't he, Ma?
Ma Stone nods silently.
JABEZ
(finishing with the pig)
There! Guess that ought to hold good. Put him
down here, by the fire, Mary.
(moving forward an empty woodbox)
But we don't want to get him too close -- we'll
have roast pork for supper.
MA STONE
(with a smile)
Not on the Sabbath you won't, Jabez!
MARY
Give me the book, Ma! I'm going to read us
something comforting.
Ma hands her the book, and Mary plumps it down on her knee with spirit; turns
the pages; then remembers and looks up at Ma Stone.
MARY
That is -- if you don't mind changing the
lesson, Ma.
MA STONE
Land sakes, I don't mind. I never did hold much
with Job, even if he is Scripture. He took on
too much to suit me. I don't want to malign the
man, but he always sounded to me as if he came
from Massachusetts. Yes, Mary, you go ahead
and read.
As Mary is about to read, there is a dash of rain on the windows, and Shep is
heard barking from outside. Holding the blanket around him, Jabez rises and
goes to the window.
JABEZ
Well, I'll be -- there's a rig, turning in, by
the gate.
MARY
(rising and going quickly
to the window)
Who is it?
JABEZ
It's Tom Sharp and two other fellers -- Oh,
glory -- where's my pants?
He makes a wild scramble for them, grabbing them up from a chair near the
fire. The women, in the way of all women, are rushing about, fixing up the
kitchen. Shep is heard barking, outside.
Outside, a buggy has driven up in the teeming rain and two farmers, their
clothes drenched, are climbing down, while a third farmer remains in the
driver's seat, reining in the horse. The men run for the shelter of the
porch, barked at by the dog, who has been curled up by the kitchen door. They
reach the door and knock; one pats the dog and quiets him. Jabez, pulling up
his braces, opens the door.
TOM SHARP
Afternoon, Mary.
MARY
Afternoon, Tom. Come in.
Tom Sharp starts to come in slowly, followed by his friends.
MA STONE
There's a mat there to wipe your feet on.
TOM SHARP
Thanks, ma'am. Howdy, Jabez.
JABEZ
Howdy, Tom.
He wipes his feet vigorously. So does his companion.
TOM SHARP
(introducing the second farmer)
This is Van Brooks -- he's Massachusetts.
Thereupon Ma Stone looks at him with redoubled suspicion. And now the third
farmer, the one driving the buggy, stands at the door, stamping his wet feet.
TOM SHARP
This is Eli Higgins -- Vermont.
MA STONE
There's a mat there to wipe your feet on.
THIRD FARMER
Thanks, ma'am.
He enters.
Each farmer ducks awkwardly as introduced and mutters, "Afternoon, ma'am," to
Mary and Ma Stone. They come over and hold their hands out to the blaze that
Mary pokes up.
JABEZ
Come on close to the fire -- Set down.
They sit.
VAN BROOKS
(who is nearest to the wood-box)
Little pig hurt himself?
JABEZ
Yep.
The women busy themselves at the cupboard over in one corner, opposite side
of the fireplace. The men make themselves comfortable by the fire, as Jabez
adds a few logs of wood and again pokes up the coals, but they do not smoke.
Eli Higgins gets his pipe out and is about to fill it.
MA STONE
We don't smoke on Sabbath in New Hampshire.
ELI HIGGINS
Sorry, ma'am, I forgot.
(And he puts the pipe away.)
JABEZ
(to Eli Higgins)
How's the year been in your part of the
country?
ELI HIGGINS
Had a good stand of corn -- coming up right
nice. Then we got a hailstorm -- in June.
Hailstones so mighty chickens sat on 'em
thinking they was eggs. Makes you wonder
sometimes what Providence is thinking about.
VAN BROOKS
We got a snowstorm in August.
MARY
In August?
VAN BROOKS
Yes, and it was so cold -- a man got caught in
it -- froze him solid, all except his heart.
That was frozen already.
TOM SHARP
Loan shark -- hey?
JABEZ
Too bad it didn't happen to Miser Stevens.
TOM SHARP
Are you one of old Stevens' customers too?
JABEZ
Sure am.
TOM SHARP
Yes, it's the debt and the lien and the
mortgage that eats up the farmer!
He stretches out his thin legs; uses a splinter of wood for a toothpick,
pulled from a log near the fire.
ELI HIGGINS
City folks, they can go bankrupt -- a farmer,
he can't crawl easy.
VAN BROOKS
Laws ought to be changed, somehow.
TOM SHARP
Yes! We farmers ought to put through some of
our own laws at regular meetings -- have a sort
of Grange as they call it in Vermont.
VAN BROOKS
That's why the three of us met up together,
Neighbor Stone. We're American citizens --
we've got a right to get ourselves organized
like city folks.
TOM SHARP
What do you say? Sound reasonable to you?
JABEZ
(pulling his chin)
Sure does. But I'll have to sleep on it a
couple of nights.
TOM SHARP
That's fair enough, Jabez. Man's got a right to
mull things over. We'll drive round again, week
or so.
They get up.
JABEZ
I am just thinkin' -- now they mightn't like
the idea down in Washington.
TOM SHARP
Why not! There's a bill up in Congress to give
us a uniform law of bankruptcy. Daniel Webster
is fighting for it right now--
JABEZ
Black Dan'l?
VAN BROOKS
Yep -- the biggest man in the whole U.S. --
Senator from Massachusetts -- and surely our
next president.
JABEZ
He was born and raised at Franklin -- right
across the valley -- Mary is from there, too.
MARY
(leaping in -- flushed
with excitement)
He gave my father advice, many times -- about
crops and politics -- and it was always right.
TOM SHARP
I've heard people talk a lot about his farm at
Marshfield. He's up at five there every morning.
He ain't one of our gentleman farmers. He knows
all the ways of the land.
ELI HIGGINS
They say, when he goes out to fish, the trout
jump out of the stream and right into his
pockets, because they know it's no use arguing.
JABEZ
Why, they say that when he speaks, stars and
stripes come right out in the sky....
The scene dissolves into WEBSTER'S STUDY at night. Daniel Webster is seated
at his desk writing a speech. A table lamp lights his face, leaving the rest
of the room in darkness. On the wall behind him we see the shadow of Scratch.
VOICE OF SCRATCH
Listen, Black Dan'l, You're wasting your time
writing speeches like that. Why worry about the
people and their problems? Start thinking of
your own. You want to be president of this
country, don't you -- and you ought to be --
(continues dreamily)
-- Inauguration Day parade -- bands playing --
horses prancing, the sun shining on the stars
and stripes waving in the breeze -- crowds
cheering Daniel Webster, President of the
United States of America....
(more briskly)
Don't be a fool. Stop bothering with that
speech and get busy promoting yourself instead
of the people.
Webster at this point grabs the inkwell and throws it at the shadow on the
wall. The shadow disappears, and Webster turns back looking over his speech.
Then the SPEECH IN WEBSTER'S HANDWRITING appears on the screen.
"I would say to every man who follows his own
plough, and to every mechanic, artisan, and
laborer in every city in the country -- I would
say to every man, everywhere, who wishes by
honest means to gain an honest living, 'Beware
of wolves in sheep's clothing'!"
This dissolves to a series of views, montage shots, of a group in a village
square: of men and women, farmer types, reading a copy of Webster's speech,
headed "Webster Pleads for Farm Rights in Bankruptcy Bill."
FARMER
(reading)
"The insolvent farmers cannot even come to the
seat of their Government to present their cases
to Congress -- so great is their fear that some
creditor will arrest them in some intervening
state -- "
This dissolves to a field, revealing a farmer reading from the same speech,
with his wife and son. It is day.
FARMER
(reading)
"We talk much and talk warmly of political
liberty, but who can enjoy political liberty if
he is deprived permanently of personal liberty?
To those unfortunate individuals doomed to the
everlasting bondage of debt, what is it that we
have free institutions of Government?"
This dissolves to the JABEZ STONE KITCHEN in the afternoon, revealing Jabez,
dressed to go to town, seated by the small table, glancing over Daniel
Webster's speech copied in the "Cross Corners Gazette." The Sheriff is
looking over Jabez's shoulder. On the other side of the table is Mary. On the
table is the cracked teapot in which they have hoarded their small savings.
Mary is counting the money.
JABEZ
(reading from the paper --
Webster's speech)
" ... and if the final vote shall leave
thousands of our fellow citizens and their
families in hopeless distress, can we --
members of the Government -- go to our beds
with a clear conscience, can we, without self-
reproach, supplicate the Almighty Mercy to
forgive us our debts as we forgive our debtors?
MARY
That's wonderful language. It would move a
stone.
JABEZ
If it would only move old Miser Stevens --
We've still got to pay him.
SHERIFF
Yep -- you can't get around that mortgage.
-- I'm sorry, Jabez.
JABEZ
It's all right, Sheriff.
SHERIFF
Wish I could really do something for you. But
you know Stevens. He'll throw you off your
farm tomorrow if you don't pay him tonight.
JABEZ
Let him try it.
SHERIFF
The law is the law. Good-bye, Mary.
MARY
Goodbye, Sheriff.
The Sheriff leaves.
JABEZ
Well -- what are we going to do?
MARY
We can still use my butter money.
JABEZ
Your butter money?
MARY
Do you think I'm grudging it?
JABEZ
Mary -- it's gone.
MARY
Not all of it?
JABEZ
Yes -- I had to pay the vet in full. He just
wouldn't have treated the horse this time.
After all, we can't very well do without a
horse.
MARY
It's all right, Jabez. We'll find something
to pay Stevens.
JABEZ
If the pig hadn't broke his leg, we could have
taken him.
MARY
Jabez! Couldn't you take a sack of seed
instead?
JABEZ
(bitterly)
To save us work on the spring plowing?
MARY
You always said, the field uphill needs a rest,
but if you think --
JABEZ
Mary, I'm a farmer -- always will be. To me
seed isn't a thing to pay debts with, it's
alive, more alive than anything -- but I guess
you're right. We just got to do it. Oh -- how's
it all going to end?
MARY
Jabez -- you ought to talk to Tom about joining
the Grange.
JABEZ
I will, Mary -- always thought a man could be
stronger alone -- seems I've been wrong about
that.
Ma Stone calls from outside.
MA STONE'S VOICE
Jabez! You'll be late!
JABEZ
(calling)
All right, Ma--
He gathers up the worn bills and puts them in the inside pocket of his coat.
MARY
Just a minute.
She runs for the stairs that lead to the bedrooms.
The SIDE PORCH OF THE KITCHEN: The wagon stands, already hitched, by the side
door. A fine, white-faced calf, at the long-legged skittery stage, is being
held by Ma Stone by a piece of rope around its neck. It is extremely nervous,
anticipating a drastic change, and jumps about a good deal, tugging at the
rope. As Jabez comes out from the house, Ma Stone is jerking at the rope,
trying to make the calf quiet down.
JABEZ
How'd you know to have the calf ready, Ma?
MA STONE
I just figgered -- knew you didn't have enough
bills.
JABEZ
Yes -- and you figgered right, consarn it!
MA STONE
(disapprovingly)
That's a word you're too free with lately,
Jabez, consarn this and consarn that ...
JABEZ
Helps sometimes to say it.
MA STONE
(with understanding)
All right, son -- if it helps.
Mary comes out of the house. She holds a scarf in her hand.
MARY
(as she sees the calf)
Jabez!
JABEZ
Seed alone won't do, Mary. We have to throw the
calf in.
MARY
(very much disappointed)
Oh Jabez! And we were counting on ...
(stopping)
It's a lovely calf.
JABEZ
(still glum)
You're right, Mary it's a fine calf. That's why
Stevens'll take it for the rest of the payment.
He sighs and starts to get the calf up on the wagon, and Mary climbs up on
the wagon to help. At this moment the horse moves, Mary loses her balance,
and falls over backward from the wagon. Jabez rushes over to her.
JABEZ
Mary -- are you hurt?
Mary is unconscious and doesn't answer.
MA STONE
She hit her head -- Carry her in the house.
He lifts her up, carrying her into the house.
The KITCHEN: Jabez puts Mary into a chair.
MA STONE
Fetch some water -- quick!
Jabez rushes out to the pump while Ma tends to Mary.
The YARD: As Jabez comes out of the house with a bucket and hurries toward
the pump, Shep, the dog, is seen by the corner of the house, his muzzle
raised to the sky, howling dismally and strangely.
JABEZ
Keep quiet, Shep.
He continues on the way to the well to fill the bucket, but Shep howls again.
MA STONE
(calling from the kitchen door)
What's ailing that dog?
JABEZ
(at the well)
I dunno.
MA STONE
Well ... make him keep quiet.
JABEZ
And why should I? Let him howl if it makes him
feel good.
(with a sudden rush of bitterness)
Consarn it. He's better off than I am! I wish I
could tell Him...
(with an angry motion up to the sky)
... up there, just what I think.
MA STONE
Hush up such talk, Jabez!
JABEZ
I can't help it. I mean it, I tell you. I've
had more than my share. Nothing ever goes right
for me -- nothing!
He draws up water quickly and returns to the house.
The KITCHEN: Jabez, enters with the bucket of water, and sets it down.
JABEZ
(bending over Mary, tenderly)
Mary--
MARY
(coming out of her faint)
Jabez ...
JABEZ
Mary -- how do you feel?
MA STONE
Let her be, son. She'll do all right. You
better get yourself straightened out.
MARY
(weakly)
Yes, Jabez -- don't worry.
JABEZ
I'll get the doctor.
MARY
No, Jabez -- all I need is some rest -- You go
and pay our debt. Everything'll be all right
then ... everything.
Mary's eyes close and she sinks into sleep, while Jabez leaves for the barn.
The BARN: Jabez takes a sack of seed, throws it on his shoulder. At this
moment the sack opens and all the seed runs out into a dirty pool of water.
JABEZ
That's enough to make a man sell his soul to
the devil! And I would, too, for about two
cents!
He stops abruptly, realizing what he has said and appalled by it. He looks
around him, fearfully.
JABEZ
I guess nobody heard. I hope not.
Jabez jams his hands in his pockets and a horrified expression comes over his
face. He slowly takes out his right hand. In the palm are two big copper
pennies.
A VOICE
(speaking smoothly)
Good evening, Neighbor Stone.
Jabez turns around and sees a figure -- well-dressed, looking rather like a
salesman. Jabez stares at him, speechless.
THE VOICE
My name is Scratch -- I often go by that name
in New England.
JABEZ
I don't want to have any business with you.
SCRATCH
Do you deny that you called me? I've known
people in other States who went back on their
word. But I didn't expect it in New Hampshire.
JABEZ
(stung)
You can't say that to me! I'm New Hampshire.
If I say I called you, I did.
(in a lower voice)
I guess I did.
SCRATCH
You've had a lot of bad luck these days. And
yet -- it's all so unnecessary. When I think of
your opportunities --
JABEZ
Opportunities?
SCRATCH
Of course. Why man, you have one of the richest
farms in the county.
(as Jabez laughs bitterly,
Scratch persists)
You just go about it the wrong way -- so many
men do. Hard work -- well, that's all right for
people who don't know how to do anything else.
It's all right for people who aren't lucky --
but once you're lucky -- you don't work for
other people. You make them work for you.
JABEZ
Well, now, Mister, that sounds all right. But--
SCRATCH
A clever man like yourself -- he can find money
anywhere. Money to pay his bills -- money for
his wife and his children -- money to be a rich
man. All he needs is a friend to point it out
to him.
(kicks his suspiciously sharp
toe at a loose board in the barn)
Like that!
The board, rotten, gives way. Underneath it is an iron pot, filled with
money. Scratch points down to it silently; Jabez looks at it, dumbfounded.
SCRATCH
Don't be afraid of it. Pick it up. Feel it in
your hands.
SHARP'S VOICE
(from outside)
Jabez Stone!
Jabez doesn't hear. He still stares at the gold.
SCRATCH
Someone's calling you, Mr. Stone.
Jabez looks up bewildered.
ANOTHER VOICE FROM OUTSIDE
Jabez Stone!
Jabez runs across the barn to the other door. Tom Sharp, Eli Higgins and Van
Brooks are approaching, and Jabez stops them in the doorway.
JABEZ
(breathless)
What do you want?
TOM SHARP
Howdy, Mr. Stone. We've come round to ask you
if you made up your mind to join the Grange?
JABEZ
(in a daze)
What Grange?
TOM SHARP
That farmers' association -- we were talking
about the other day.
ELI HIGGINS
That is, if you had time to mull it over,
proper.
JABEZ
(interrupting)
No, no I don't want to join!
(harshly)
Go away -- leave me alone.
TOM SHARP
(retreating)
Well -- we don't mean to force you, Jabez Stone
-- but -- it's only for your own good.
JABEZ
I'll look out for myself! ... Now go away --
leave me alone.
He stands for a moment looking after them as they turn and leave. Then he
quickly rushes back to Scratch.
JABEZ
(looking at the gold)
Where did it come from?
SCRATCH
Oh, you know the old story -- the Hessian wagon
train that was ambushed on the way to Saratoga.
Some of the gold has been buried under your
barn!
JABEZ
(feverishly)
Yes, why shouldn't it?
SCRATCH
Yes, of course, people forgot -- or the men who
knew about it died, you know how these things
happen.
Jabez goes forward to pick up the gold. Scratch stops him.
JABEZ
It's mine?
SCRATCH
That's right, Mr. Stone -- there is --
(whipping a paper from his pocket)
-- just one little formality. I'd like your
signature here -- see. And when it's done --
it's done for seven years.
(as Jabez looks up)
It's our usual form. Of course -- we may be
able to take up the question of a renewal in
due time.
JABEZ
(staring at the paper
Scratch holds before him)
What does it mean here -- about my soul?
SCRATCH
Well, why should that worry you. A soul -- a
soul is nothing. Can you see it, smell it,
touch it? -- No! -- Think of it -- this soul
-- your soul -- a nothing, against seven whole
years of good luck! You will have money and all
that money can buy. Upon my word, Neighbor
Stone, if it weren't for my firm's reputation
for generous dealing--
He starts to put the paper away.
JABEZ
No, no! Give it to me!
SCRATCH
(taking a pin from his coat lapel)
A pin, Neighbor Stone! I'm afraid, you'll have
to prick your finger -- but what's a little
pain to a lucky man?
Jabez takes the pin, pricks his finger and draws blood.
SCRATCH
(pointing)
Sign here.
Jabez signs.
SCRATCH
Excellent. A firm, fair signature. One that
will last till doomsday.
(tucking the deed away in his
pocketbook, then shaking Jabez's
hand)
My dear Neighbor Stone, I congratulate you!
You're going to be the richest man in New
Hampshire!
(He starts to leave.)
JABEZ
Well, I'll be --
(He stoops to pick up some gold.)
SCRATCH
Yes, indeed. But not now. Not for seven years.
Oh, I almost forgot -- what is the date?
JABEZ
The seventh day of April --
SCRATCH
1840. Well, that'll take us to the seventh day
of April in 1847.
They start for the door together.
OUTSIDE THE BARN, the sunset fading from the sky: Jabez and Scratch stand by
a stunted tree near the door.
SCRATCH
Just to remind you -- though of course we'll be
seeing each other in the interim --
He sweeps his five, very pointed fingers across the bark of the tree and
suddenly there is a date upon it: "APRIL 7, 1847." Scratch moves toward his
black buggy and black horse. They are just shadows in the weird light.
SCRATCH
(lifting his hat)
Good evening, Neighbor Stone.
(he gets into the buggy)
A beautiful sunset, Mr. Stone.
Jabez stands with the gold in his hands as we hear the buggy wheels drive
away, but we hardly can see it disappear; it becomes part of the twilight so
quickly.
Jabez, left alone, blinks as though waking from a fantastic dream. He looks
down at the gold in his hands; and he brings a piece of it up before his eyes
and stares at it, blinking again.
JABEZ
(in a low voice)
Mary....
(the realization of his luck
coming over him in a wave)
Mary ... Mary ...Mary!
He rushes for the house. The dog, Shep, slinks out of the hall and follows
Jabez, suddenly shaking off his fears and prancing by his master's side.
The KITCHEN in Jabez Stone's House: The lamps are lit. Mary is propped up in
a chair by the fire, and Ma Stone is busy with supper. Jabez rushes over to
Mary, so excited he cannot sit down. He tosses the gold pieces in Mary's lap.
She is fingering them, amazed -- incredulous.
JABEZ
Mary -- what would you do with a pot o' gold?
MARY
Jabez!
JABEZ
Mary -- what would you do?
MARY
Well -- I -- I don't know -- I would pay our
debts and well -- maybe get a new bonnet, but
-- really -- I think I would live the same.
JABEZ
Mary -- look! Hessian gold. I found it in the
barn.
MA STONE
You found it in the barn, hey?
JABEZ
Yes -- I was getting the seed -- I stumbled --
I saw one of the boards warped up a bit -- and
-- there it was.
MA STONE
(skeptically as she carries plates
to the table)
Most outlandish thing I ever heard tell.
(as she thumps plates down on table)
Don't seem right, somehow!
JABEZ
But it's true. Take 'em up in your hands, Mary
-- feel 'em -- they're real all right.
(as Mary just stares at her lap,
but does not touch the money)
Aren't you glad?
MARY
I'll try hard -- I just can't take it all in.
MA STONE
(taking up one of the gold pieces)
H'm. Hessian gold. Well -- hope it'll do us
more good than it did the Hessians.
She drops it.
JABEZ
We'll none of us have to worry any more, Ma.
We're rich!
He stoops down and kisses Mary.
MA STONE
(at the fire)
Well -- that's comforting!
(lifting the pot from the crane
and starting back toward the table
with it)
Supper.
JABEZ
Say, Mary, how is your shoulder?
MARY
It feels fine now, Jabez.
JABEZ
Will you come into town with me tomorrow?
MARY
I'd love to.
The scene fades out.
A ROAD fades in. It is next morning and a bright spring day and Jabez and
Mary, both dressed for town, are riding in the buggy, en route to Cross
Corners. As we follow them, Jabez is in high spirits, he is humming or
whistling a little tune; Mary is, too, but with more reserve.
This view dissolves to CROSS CORNERS, MISER STEVENS' OFFICE, later in the
day: The buggy stops in a whirl of dust, and as Jabez jumps out of the buggy,
Sheriff Mays steps outside the office building.
JABEZ
Hello, Sheriff.
SHERIFF
Hello, Jabez -- I was just talking to Stevens
about a little extension on your payment.
JABEZ
(laughing)
And you didn't get it, hey? Come on, we'll have
another talk with him.
Jabez takes the Sheriff's arm and goes over to the office with him. As Jabez
disappears through Stevens' door he turns and signals reassuringly to Mary
and gives her an elaborate wink.
STEVENS' OFFICE: It is a bare, cold room with a small iron stove near the
desk, a small iron safe, and a few severe chairs. A meager fire burns in the
stove, no more than a few coals. Stevens is behind his desk, with various
legal papers piled in front of him, and is looking craftily at the door from
the street as it opens and the Sheriff enters, followed by Jabez.
JABEZ
(closing the door and stepping
forward jauntily, as he mockingly
sweeps off his hat)
Stevens!
STEVENS
(icily)
Well, Stone -- have you got the money?
JABEZ
(with mock humility)
I barely managed to scrape up a bit for you. I
thought if I made a kind of part payment --
STEVENS
(hard as granite)
No, Stone!
JABEZ
-- in gold.
STEVENS
(scornfully)
I'd like to know where you'd get it....
JABEZ
You know -- some folks are just lucky. Others
pick gold right out of the air.
(reaching up over his head, as
though picking it from the air,
and flinging a gold piece on the
desk)
Like that!
STEVENS
(grabbing for the gold piece as
it rolls on the desk and biting it)
Real! Sheriff, you are a witness that this
money is paid me voluntarily, and while it
does not satisfy the mortgage, it has become
my property.
JABEZ
Doesn't satisfy, eh? Well -- that's too
bad....
He does another sly bit of hocus-pocus and extracts another gold piece,
seemingly out of Stevens' nose, and flings that one down.
JABEZ
Rake that one in, too....
(flinging it down)
And this one -- and this one -- and that ...
He takes them out now, faster and faster flinging them down one after the
other and laughing uproariously as Stevens scrambles for them.
JABEZ
(stepping close to the desk)
Count it -- count it! The Sheriff's here to
witness.
He reaches out suddenly and grabs up a deed from Steven's desk. He glances at
it; makes sure it is his; and deliberately tears it into bits and flings them
down on the desk.
JABEZ
That makes everything clean now. Come on,
Sheriff.
He links arms with the Sheriff and goes out, leaving Stevens staring at one
of the pieces of gold as he holds it on his wrinkled palm. He lets it fall to
the desk, suddenly realizing he has seen that kind of gold before. With a
motion of repulsion, he pushes the gold aside, moves back the top of his desk
with a thrust of his trembling hand, and stares down on something that is
written there.
There follows a close view (an insertion) of what Stevens sees: It is the
present date: April 8, 1840, written in the same style of lettering Scratch
used on the tree on Jabez's farm.
Then, the previous scene reappearing, we watch Stevens staring at it for a
moment, then rising rather unsteadily and going quickly to his small iron
safe. He opens it; snatches out some gold and some fat bundles of worn bills,
and stuffing them into his pockets, leaves.
The scene dissolves to the EXTERIOR OF THE CHURCH AT CROSS CORNERS, a fine
white New England structure opposite the village green. Stevens comes up the
front steps, hurrying up, clutching his pockets, heavy with their burden of
gold and currency, enters the VESTIBULE of the church, which now appears. It
is a shadowy corner where there is a poor box or box for contributions to
foreign missionaries. Stevens begins stuffing his money into the box. As he
is thus engaged, a shadowy figure in a black frock coat appears in the
doorway; starts to put his sharp-pointed foot over the threshold; then draws
it back. He does not enter the church but speaks from the outside.
SCRATCH
(softly)
What are you doing, Mister Stevens?
Stevens whirls about. He stands trembling, his head thrust forward.
STEVENS
(stopping and cringing)
I wanted to give it all to the church.
SCRATCH
My money? Why, Mister Stevens? What a quaint
idea. Come over to the door. I want to speak
to you privately. Stop throwing away that
money. We mustn't let people see any softness
in you, Mister Stevens.... People take
advantage of softness, you know. Come out of
there -- I'll give you an extension if you'll
forget this stupid repentance idea.
STEVENS
(coming out of the church)
That isn't it. It's ... the loneliness, Mr.
Scratch ... the loneliness!
SCRATCH
(stroking his pointed chin
and chuckling softly)
The loneliness? Lonely with all your gold,
Mister Stevens? That hardly makes sense.
STEVENS
(under his breath)
I want someone to talk to ...
SCRATCH
You can talk to me ...
STEVENS
No, no ...
(beginning to whimper again)
I want to talk to men ... to people in Cross
Corners ...to my neighbors ...
SCRATCH
Why don't you?
STEVENS
I can't be honest with them.
SCRATCH
Oh, that's what you want -- well, you can be
perfectly honest with Jabez Stone -- now.
The scene dissolves to the COUNTRY STORE of Cross Corners, disclosing Jabez
loading various things he has purchased on his buggy. Eddie, the store clerk,
is coming out of the store with Jabez's bill in his hand.
EDDIE
That certainly was a big day for our store, Mr.
Stone.
JABEZ
(paying the bill)
Here ...
(handing Eddie an
extra gold piece)
... and this one is for you.
EDDIE
Golly, Mr. Stone, I hope I stumble on a pot of
Hessian gold one day, myself.
As Eddie runs back into the store, Mary comes out, accompanied by Sarah.
MARY
(indicating the bonnet)
What do you think of that, Jabez?
JABEZ
Looks right elegant, Mary.
SARAH
(fluttering around her)
Newest thing by last fall catalogue and
"Godey's Ladies' Book."
MARY
You don't think it looks too fancy?
JABEZ
Did you say too fancy?
SARAH
Lan's to gracious, child, not for you!
JABEZ
You take it -- nothing's too fancy for us ...
MARY
(to Sarah)
Well -- maybe it wouldn't hurt -- to have a
few roses.
SARAH
(smiling)
Right pretty, Mary.
MARY
(turning back to the store)
I'll pick out a little shawl for Ma -- good
and serviceable.
JABEZ
(calling after her)
Take your time, Mary. I'll be back in half an
hour.
Jabez leaves, and as Mary turns back she bumps into Eddie who is coming out
of the store with a trumpet under his arm.
MARY
Where are you going with your trumpet?
EDDIE
Didn't you hear, Mrs. Stone? Daniel Webster
has promised to stop at Cross Corners today on
his way to Franklin.
MARY
Daniel Webster -- here?
EDDIE
Aren't you going to the reception?
The scene dissolves to the VILLAGE SQUARE in the late afternoon: The whole
village has collected here and we see quite a gathering. The local fife-and-
drum corps is prominently in evidence, including at least one Revolutionary
veteran, in buff and blue, with a pigtail. The Sheriff lines up the band and
the spectators; the schoolmaster takes care of the children. The Squire
stands in front of the band looking up at Eddie who practices on his trumpet.
SQUIRE
Eddie -- must you do that now?
EDDIE
I want to get it right once before Mr. Webster
arrives.
SHERIFF
(joining them)
What do you think, Mr. Squire, shall I find out
more about Jabez and his gold?
SQUIRE
You better find out about Mr. Webster -- he is
already more than an hour late -- can't
understand it.
He turns to the waiting crowd which is getting restless. He is almost about
to speak when Eddie blows his trumpet again, causing the Squire to look at
him exasperated.
EDDIE
Don't worry, Mr. Squire, I'll get it yet.
SQUIRE
Friends, neighbors -- I beg you to have a
little more patience. So let's rehearse the
parade once more.
He turns to the bandleader, who gives the signal, whereupon the band starts
playing.
The scene dissolves to a FIELD BEHIND THE BARN in the late afternoon, as
Jabez arrives at the blacksmith's.
JABEZ
(to a boy)
Where is the blacksmith ?
BOY
He's pitching horseshoes with Daniel Webster.
JABEZ
With whom?
As Jabez turns, we see Daniel Webster and the blacksmith pitching horseshoes.
Small boys stand about, watching and cheering.
SPECTATOR
(to his companion)
Crazy galoot -- thinking he can take on Dan'l
Webster.
ANOTHER FARMER
Dan'l pitched shoes from his cradle, didn't
you, Dan'l?
WEBSTER
Yes, with my Granny, and she wasn't bad, either
-- Now, I'll really have to go. The people
must be waiting over at Cross Corners.
Webster has reached his buggy and there Scratch is holding up Webster's coat.
SCRATCH
It's only a short drive, Mr. Webster.
WEBSTER
(turning)
Oh -- it's you again. What do you want?
SCRATCH
With the presidential election coming up, I
thought I could be of some help, sir.
WEBSTER
I'd rather see you on the side of the
opposition.
SCRATCH
I'll be there, too!
Just then Webster stops, looks back, and sees Jabez throwing a horseshoe.
WEBSTER
Say, that's pretty good, young man.
SCRATCH
Pretty good -- that's perfect!
JABEZ
Ten throws -- Mr. Webster?
WEBSTER
Ten throws it is.
The scene dissolves and reappears, indicating that some time has elapsed. A
few more throws and Jabez has won the game. The farmers cheer.
WEBSTER
(Shaking Jabez's hand; very friendly)
You win. Will you ride to the village with me,
Mr. Stone?
JABEZ
Thank you, Mr. Webster.
The scene dissolves to the VILLAGE SQUARE, and as Webster drives his buggy
down the slope, we suddenly see that the village square is empty -- not a
soul is in sight. The people had apparently become tired of waiting for
Webster and gone about their various duties. And now in WEBSTER'S BUGGY, as
two buggies come down the slope, we see the amazed and then chagrined faces
of the reception committee as they observe the deserted square.
WEBSTER
(smiling, his black eyes flashing
their lightning of humor to the
Squire at his side)
I don't seem to be so very popular after all --
in Cross Corners.
JABEZ
Seems like it's my fault, Mr. Webster.
WEBSTER
(slapping his knee)
Not at all, lad -- not at all.
(with tongue in cheek)
For a good game of horseshoes I would always
sacrifice fame and acclaim.
Some boys jump off the rear of the buggy and dart away, calling out as they
run in their shrill, piping voices.
MARTIN
(one of the boys; running up
to the door of the inn)
Black Dan'l's here!
The INN, which now appears, is filled with farmers and town people who were
seen before waiting in the Square, and heavy drinking is going on as Martin
goes up to the bar.
MARTIN
Hey, Dan'l Webster's here!
In the SQUARE IN FRONT OF THE INN, the carriages now come to a stop as the
tavern door opens and the host, Cy Bibber, round, red-faced, always a little
mellow, rushes out with greetings and a good-sized cup of rum for the great
Dan'l Webster, handed to him by Mr. Scratch. The Squire, red-faced, rushes up
to the carriage.
SQUIRE
Welcome -- Mr. Webster -- welcome in Cross
Corners.
CY BIBBER
(as he hands up
the cup to Webster)
Your good health, sir.
WEBSTER
(taking it)
What about my friends -- let's all have a drink
and a bumper one for the champion -- Mister
Stone!
CY BIBBER
Right away, Mr. Webster.
He bows and scrapes and is off immediately into the tavern.
WEBSTER
(sniffing the cup)
Here's a man who knows what's good for Dan'l
Webster! Medford rum! Ah, a breath of the
Promised Land!
(he tastes it; and smacks his lips)
To the champion of the Iron Horseshoe, Jabez
Stone!
JABEZ
(who in the meantime got his drink)
Thanks, Mr. Webster!
(lifting up his cup)
To the champion of the whole United States --
Dan'l Webster!
Cheers, and they all drink. At this moment, however, young Martin, stepping
up to the buggy, begins scrutinizing Webster.
WEBSTER
What are you looking for, Colonel?
(as Martin doesn't answer)
What's your name?
MARTIN
Martin Van Buren Aldrich and my Pa's the only
Democrat in Cross Corners. He said you had
horns and a tall, Mr. Webster, but I ain't
seen 'em yet.
WEBSTER
Well, Martin, I only wear them in Washington --
that's the trouble. But if you ever come down
there, I'll show them to you.
MARTIN
(goggle-eyed)
Gee, would you, Mr. Webster? Honest?
WEBSTER
Of course. And you tell your father for me --
we may be on opposite sides of the fence, but
I'm always glad to hear of a man who holds to
his own opinions. As long as people do that --
the country's all right. Do you understand,
Martin?
MARTIN
Yes, sir -- I guess I do -- Gee --
SCRATCH
Speech, Mr. Webster -- speech --
Webster, Jabez, and the Squire, Schoolmaster and Sheriff are still drinking,
and Cy Bibber is giving another cup to Webster. It is obvious that Webster,
in a very pleasant way, is a little under the weather, for he slumps down in
the front seat of the buggy, holding the cup a little unsteadily in his hand.
Voices in the crowd begin calling:
VOICES
Speech, Black Dan'l. Speech!
SQUIRE
They're asking for a speech, Mr. Webster.
WEBSTER
Speech? -- Oh, no -- I'm a little tired,
Slossum. And, besides, it's so pleasant here --
in the sun.
(he stretches out his legs and
settles down on the small of his back)
Your sun and air are very pleasant in Cross
Corners.
He smiles and closes his eyes with a deep sigh.
SQUIRE
(sputtering)
-- but -- Mr. Webster --
He looks helplessly around at the others.
WEBSTER
(to the Squire)
You tell them --
VOICES
(from the crowd)
Speech, Dan'l Webster! Speech!
SQUIRE
(helplessly to the Committee)
What are we going to do, Gentlemen?
Suddenly, Jabez, who realizes the state Webster is in, moves away from the
buggy; and jumps up on the tavern steps. He holds up his hands to the crowd.
They gradually stop calling and give him their attention.
JABEZ
(beginning with a frog in his
throat, scared by his own
temerity)
Listen, folks -- Folks, I want to say -- Folks,
I -- I don't know much about speechifying --
(swallowing dryly)
-- but I feel it my duty --
There is an expectant silence, and Jabez, still scared, looks out at the
crowd and gropes for further words.
At this point we get a fairly close view of Mary in the crowd. She is
standing next to a tall, thin woman, Susannah Orr.
SUSANNAH
(looking off at Jabez)
What's the matter with him? Cat got his tongue?
MARY
Hush up, Susannah.
SUSANNAH
Jabez is a smart farmer. But making tall
speeches's different. Kin he do it?
MARY
Of course he can -- I mean he never has -- but
-- Oh, can't you keep quiet!
Now we get a close view of Jabez Stone, still standing on the steps of the
tavern.
JABEZ
(continuing his speech)
Well, folks -- what I want to say is -- well,
when a man like Dan'l Webster visits us -- we
shouldn't ask him for a speech -- it is for us
-- to speak, to tell him that we farmers thank
our lucky stars every day in the year for what
Dan'l Webster's done for us. If anybody's got
corn in his crib and hay in his barn, it's all
due to our good neighbor, Dan'l Webster, who
stood right up in Congress to protect us from
loan sharks by a new law. And after hard work
like that, it's only natural Dan'l Webster
gets tired. He's tired of making speeches and
just wants a little rest in the sunshine --
and, folks, if he don't choose Cross Corner's
sunshine to rest in! Now that's mighty fine!
And I want to say this before I quit talking.
We're hoeing corn in Franklin County, all due,
like I says, to Dan'l Webster, and we'll keep
on hoeing it till he's in the White House in
Washington -- where he belongs.
Jabez bows and steps down from steps and is rewarded with applause and
cheering. Webster has been soundly asleep but now he opens his eyes. He
smiles at Jabez and stretches out his open hand. Jabez grips it, looking
exalted.
WEBSTER
(still a little drowsy)
Eloquent speech, Neighbor Stone -- couldn't
have done better myself --
(with a sly smile)
-- under the circumstances.
(he squeezes his hand)
Thank you.
JABEZ
Mr. Webster -- I'd like you to meet my wife,
Mary.
WEBSTER
Well -- I'll be -- if it isn't little Mary
Sampson from Franklin.
MARY
(smiling)
It is.
WEBSTER
(putting out his hand to Mary)
You've got a smart man, Mrs. Stone. Hang onto
him.
MARY
(as they shake hands)
-- I'm going to try, Mr. Webster.
She blushes; then pauses.
WEBSTER
That's fine --
(then picking up horses' reins)
Well -- I'm getting on to Franklin before night.
Good-bye, Mary -- Good-bye, Jabez -- God bless
both of you -- Good-bye, everybody and thank
you.
He raises his hand to the crowd. They begin to cheer. The horses start
trotting off. Now, the band in a last minute rush comes and plays a farewell
tune for the departing Webster. Webster turns and waves as the crowd goes on
cheering. Jabez and Mary stand together, waving good-bye.
The STEPS IN FRONT OF THE INN: The Squire and the others are about to enter
the inn.
SQUIRE
Coming along, Jabez?
JABEZ
(to Mary)
Shall we?
MARY
We must go on home, Jabez.
JABEZ
Yes, Mary.
(with a self-satisfied
sigh and stretch)
It's been a long day.
The scene dissolves to the WASHINGTON ARMS TAVERN BARROOM, where we find the
Squire, the Sheriff, the Schoolmaster, and a few other men. They have all
been drinking heavily, even the host, Cy Bibber, who is not behind the bar
where he should be. Instead, in his place is Scratch, smoothly and very
efficiently mixing and serving the drinks.
SCRATCH
Another drink, Sheriff?
CY BIBBER
I want to make a toast --
(holding up cup that
Scratch fills again)
-- a toast to Dan'l Webster -- greatest man --
in whole United States!
Others cheer thickly and drink.
SCRATCH
Excellent, Mr. Bibber, excellent -- and I'd
like to make another one.
(raising his cup)
To Jabez Stone -- who so ably today supported
the --
(slurring it)
Great Dan'l Webster! -- Sometimes people don't
recognize great men in their own community.
CY BIBBER
(to the Squire)
Did you hear, Squire Slossum?
SQUIRE
Mr. Stone? -- a great man? -- Well, now -- I --
he seems to be a little overbearing -- driving
in Mr. Webster's carriage. No -- I am not so
sure about him.
SCRATCH
(to the Squire)
Another rum, Squire Slossum.
SQUIRE
(thickly)
-- Well -- I -- I don't know --
SCRATCH
What? You don't know? --
SQUIRE
Well, just one more -- and this is the last
one.
The scene dissolves to the MAIN STREET OF CROSS CORNERS, dark and silent. The
lights are out in the houses. From out of the tavern, their arms locked
together, come the figures of Scratch, the Squire, Sheriff, Cy Bibber and the
Schoolmaster. Scratch is in the middle.
We follow them as they weave in an unsteady line down the dark street. Softly
they chant in their mellowed, dulcet tones, as the scene dissolves.
ALL OF THEM
We want Jabez Stone! -- for selectman -- Jabez
Stone! Jabez Stone!
JABEZ STONE'S BEDROOM, a small room under the slope of the eaves: It is still
that night. The lamp is lit. There is a big, fourposter New England bed with
a canopy and patchwork quilts. Jabez and Mary are preparing for bed, Mary is
finishing braiding her hair and Jabez is taking off his shoes.
JABEZ
(still in the dream)
Remember, Mary, how he said it: "Couldn't have
done better myself, Jabez Stone," and it was my
first speech. I don't know what came into me,
Mary. I just stood up and the words came
flowing like water out of my mouth.
MARY
(having said this
many times since)
Oh, Jabez -- it was a wonderful day --
A pause. She finishes with her hair and begins to unbutton her dress.
MARY
But I'm glad to be home again --
JABEZ
(looking up at her)
Tired?
MARY
Worried!
JABEZ
There is nothing to worry about now.
MARY
(anxiously)
You'll never change -- will you?
JABEZ
Mary -- you just wait and see -- It's all --
just the beginning -- just the beginning -- of
everything. I'll be the biggest man in New
Hampshire and you'll be the wife of the biggest
man.
But now Shep is barking in the yard. Jabez turns from Mary and goes toward
the window to open it, unbuttoning his shirt. We get a close view of Jabez at
the window as he opens it and the curtain flutters in the breeze that smells
of earth. We see the new moon from Jabez's angle, just sinking over the sharp
hills.
JABEZ
Quiet, Shep --
(taking in a deep breath)
It's a new moon, Mary --
MARY'S VOICE
Yes, I know, Jabez -- a new moon. And I saw it
over my right shoulder, too. That means good
luck -- for both of us.
JABEZ
Yes -- we are rich --
MARY
(after a pause)
There's hope and promise in it, Jabez --
Planting and promise of good harvest to come.
JABEZ
(taking another deep breath)
Yes -- you are right, Mary. I can almost hear
the little blades of grass a-starting up --
All the seeds a-stirring underneath the
ground --
MARY
(after a pause, softly)
Don't take cold, Jabez.
(after another pause)
Come -- it's warm in here.
The lamp is blown out and the room becomes dark, except for the thin light of
the moon. Jabez's figure is bathed in it for a moment. He turns from the
window, just as the unmistakable figure of Scratch is seen, watching from the
shadow of a tree, but Jabez has no eyes for him now.
In the gentle glow of moonlight, Jabez's tall figure is seen going toward the
bed, while Mary is lying under the covers, her face turned to him on the
pillow, waiting.
JABEZ
Mary --
MARY
Jabez --
He kisses her, then reaches out and touches the very edge of the bed as the
scene fades out.
A HILLSIDE FIELD back of the Stone house fades in. It is just before noon
next day, and Jabez is doing his spring plowing. The horse is old and so is
the plow, but we should get some feeling of the essential strength and beauty
of earth here -- and of Jabez's real kinship with it -- his stride across the
furrows and the feeling of his feet honestly gripping the good earth. Then a
closer view picks out Jabez plowing and now a horn is heard blowing from the
house; it is a horn used to call men in from the fields. Thereupon Jabez
stops and goes to the house.
The KITCHEN-SIDE of the Stone House, near the porch: As Jabez and Ma Stone
come up, Mary, sleeves rolled back, is fresh from her washtub.
MARY
(seeing Jabez)
Oh, Jabez -- I hated to call you from spring
plowing, but--
The Squire, his wife, Lucy, Schoolmaster Phipps and the Sheriff: The Squire,
Sheriff and Schoolmaster all look suspiciously bleary and are suffering from
headaches. The Squire, in particular, looks unfortunate, being so pompous
anyhow.
JABEZ
(excited)
Why -- good morning, Squire.
SQUIRE
Morning, Jabez.
OTHERS
'Morning, Jabez.
JABEZ
'Morning, Mrs. Slossum.
SQUIRE
Ahem -- we want to have a little confidential
talk with you, Neighbor Stone. Don't like to
take a man away from his planting -- but
sometimes --
JABEZ
Come right into the parlor, won't you, folks.
MA STONE
(displaying her new shawl, proudly,
now that there is distinguished
company. She is smoothing the part
in her hair)
Well -- Lucy Slossum! Come right in with us,
won't you?
LUCY
Thanks, Mrs. Stone.
They go into the house.
The STONE PARLOR: It is a frigid place, with sparse, unfriendly furniture and
a horse-hair memorial to a departed Stone on the wall. The place might well
be a marble vault. Jabez ushers the Squire, Sheriff and Schoolmaster into it.
They sit down uncomfortably on hard chairs, shivering a bit.
JABEZ
Mighty good of you to come out, Squire --
sparing all this time to --
(looking at others suspiciously)
Sheriff, too -- and Schoolmaster -- mighty
nice.
SQUIRE
Ahem -- Neighbor Stone, we want--
His head is killing him. The Sheriff and the Schoolmaster are not happy,
either.
SQUIRE
(moaning)
Oh!
JABEZ
(concerned)
Headache -- Squire?
SQUIRE
Worst I had in years -- ahem -- starting a
spring cold, I guess -- er -- don't happen to
have a bit of camomile tea in the house, do
you, Stone?
JABEZ
Camomile tea!
The STONE KITCHEN: Mary, now trimmed up a bit for company, but still flushed
and steamed-looking, is sitting with Lucy Slossum and Ma Stone. Jabez enters
from the parlor.
JABEZ
Mary, get three cups of camomile tea for the
Squire and the rest. They all feel colds coming
on.
MARY
I'll get it, Jabez.
JABEZ
Thanks, Mary.
He goes back to the parlor, and Mary goes to cupboard and gets down jug of
cider and some cups.
LUCY
Poor Henry, he's suffering mighty sharp. Had an
important committee meeting last night, and
didn't get home till midnight. I was asleep, of
course, that late, but this morning -- My! --
MA STONE
(dryly)
There's one thing good for that kind of
headache. Let me show you.
The STONE PARLOR: The Squire has managed to get to his feet and is speaking
formally.
SQUIRE
And so, Jabez Stone, in the name of the Whig
Party of Cross Corners, we offer you the
nomination of that party for Selectman.
JABEZ
(stunned)
Selectman? Selectman of the village? Me?
The Sheriff and the Schoolmaster clap their hands.
SHERIFF
Fine speech you made yesterday, Jabez. Shows
you've got the stuff.
SQUIRE
New blood -- and old stock.
JABEZ
But -- I was just lucky.
SQUIRE
Well? Don't a politician have to be?
SHERIFF
It seems such an obvious candidature to us all.
JABEZ
(taking a deep breath)
Very well, folks. I accept.
SQUIRE
Good! That's the right New Hampshire stuff! Now
-- ahem -- if we could make a little toast to
that effect.
MARY
(entering with cups on a tray)
Here, Jabez --
JABEZ
(taking the tray)
Mary! I'm -- Selectman of Cross Corners!
MARY
(looking at him, frightened and as
though she has suddenly lost him)
Oh -- Jabez.
She turns and runs from the room. Jabez turns and looks after her. Then he
shrugs, turns back to the men, and begins passing out cups to them.
SQUIRE
(holding up his cup)
To our new Selectman, Jabez Stone!
They drink taking it down in one thirsty gulp, and smack their lips.
Suddenly, all three who drank look at each other -- strange, foiled looks
coming over their faces. Their lips pucker up.
SHERIFF
I'll be blowed -- nanny-plum laxative tea!
They all look, bewildered, at Jabez.
The KITCHEN: Ma and Mrs. Slossum are looking over a box filled with paper
slips -- recipes.
MA STONE
And if this doesn't do it, then you try this
recipe.
MRS. SLOSSUM
Thank you -- Ma Stone.
MARY
(entering with the
tray of empty cups)
Oh, Mrs. Slossum, they are all leaving -- you
better hurry up if you don't want to stay here.
Mrs. Slossum swallows her last piece of pie -- wipes her fingers and rushes
out.
MRS. SLOSSUM
Good-bye, Ma Stone. Good-bye, Mary, and thanks
for everything.
MA STONE
(who has looked into the
cups Mary brought in)
They really finished it, and to the last drop
-- my, my.
She goes to the window where we see the buggy leaving with all the visitors
in it.
MARY
You know, Ma, why the Squire came to see Jabez?
MA STONE
Yes, Mrs. Slossum told me -- Lucy can't even
keep a secret -- Selectman -- my son -- well,
who would have thought of that?
JABEZ
(who has by now entered the
room and heard Ma's speech)
You could have knocked me down with a feather
-- Selectman -- me.
MARY
(who doesn't want to talk about
it, for fear she might cry)
I'll never get my washing done.
JABEZ
That's one thing I want to talk to you about,
Mary.
MARY
(with a curtsy)
Yes, Mr. Selectman!
JABEZ
I'm serious.
MARY
It's very becoming to you, Mr. Selectman.
JABEZ
But it's not very becoming to you to have your
hands in the suds -- when the Squire and his
wife --
MARY
(bewildered)
But Jabez -- the washing has to be done --
JABEZ
Well -- that's the last time -- we'll have
servants to do it.
MARY
No, no. I don't want to be idle.
JABEZ
And I don't want to have a washwoman for a wife.
MA STONE
Well, son, I'm glad to see a Stone come up in
the world again.
JABEZ
Now look here, Ma. I'm not a boy anymore. I
want that understood. I don't aim to stay a
one-horse farmer the rest of my life. Mary's
got to be the kind of wife a -- a big man
needs --
MARY
Jabez -- once you said we'd never change --
JABEZ
I wasn't used to being big -- wasn't used to
thinking in big ways. Now, I've made up my
mind.
He leaves, the two women looking after him, thoroughly puzzled.
The YARD of the Stone Farm: Jabez, coming from the kitchen, sees Hank, a
neighboring farmer, lingering about. (It is day.)
HANK
Howdy, Jabez.
JABEZ
Howdy, Hank.
HANK
(meekly, with a feeling of apology)
Kin you spare a moment for me Jabez?
JABEZ
(condescendingly)
Why, of course, Hank -- I've always got time
for a neighbor. What's on your mind?
HANK
Well -- here's how it is ...Tom Sharp, Eli
Higgins and a couple of others been talking to
me about -- that new sort of organization --
grange they call it. What you think about it?
JABEZ
I don't know -- don't seem much of an idea to
me.
HANK
Yes, but what does a farmer do if he don't want
to get roped in some more by them loan sharks?
JABEZ
Oh -- you don't have to go to Miser Stevens
while I'm around.
HANK
Don't I? ... Say, that's mighty white of you,
Jabez.
JABEZ
Not at all, Hank ... not at all. Glad to help
you.
HANK
Thanks, Jabez -- I really wouldn't need very
much ... if you could let me have some seed to
start off with enough for spring planting ...
JABEZ
Seed? ... Easiest thing in the world. Come
along, Hank, we'll pick out everything you
need, right now.
They walk toward the barn.
HANK
Say ... about the interest ...
JABEZ
Now don't you worry about that. You just leave
it all to me. We won't talk business now ...
just bear this in mind ... I'm not the man to
get rich on other people's hard luck.... No,
sir... not me! ...
They enter the barn.
JABEZ
I been through the mill myself, an' I know
just how you feel. Here ...
In the BARN, Jabez bends over the seed bin, Hank standing beside him.
JABEZ
Here, that's the best seed you'll find anywhere
around New Hampshire.
And as the seed runs through Jabez's hand the scene dissolves to a series of
views ("montage shots") of the STONE FARM by day: We see it prospering under
the skies of late spring and then summer. We see all the stony fields
blossoming ... the little blades of green starting from the earth; the corn
growing thick and mighty high in one field ... the barley rank and heavy-
headed in another. We see a fine new bull being led to the barn, and two new
cows. The corn and barley stand ripe and golden in Jabez's fields.
This dissolves to the BEDROOM on a late afternoon: Mary, her eyes closed, is
lying on the fourposter bed. She is fully dressed. Her bosom rises and falls
in the breathing of gentle sleep. Jabez has just come in. His hair is
boyishly rumpled. His face, however, seems more mature and serious with a
growing self-importance.
JABEZ
(in a whisper)
Mary ...
He stops on seeing her asleep and turns away from the bed. He starts back
toward door; turns to the bed again; comes back to it and pulls the patchwork
quilt up over Mary, covering her. Then he tiptoes out.
In the KITCHEN Ma Stone sits by the fireplace, knitting. She readjusts her
spectacles and squints a bit. Jabez enters, having come downstairs again, and
paces up and down the room.
MA STONE
It won't be the first baby ever born in this
house.
(fumbling with her knitting)
There! Made me drop a stitch!
(as Jabez continues his pacing)
Sit down, you make me nervous!
(But he doesn't sit)
Lan's, that's the way a man always is. Thinks
his son's the most important thing in the
world.
JABEZ
My son! Do you really think, Ma....
MA STONE
(laughing)
Oh, go along with you! As if it mattered to a
grandma! But p'raps you got an even chance.
There is a sudden blink of lightning at the window.
MA STONE
Looks like a storm, all of a sudden. Hope it
won't wake Mary.
She lights a lamp.
JABEZ
(looking out the window)
Queer sort of weather we're having -- queer
like everything else.
MA STONE
Well, thank the Lord you can always depend on
New England for weather. We've got enough for
the whole United States.
JABEZ
I feel -- fidgety, Ma -- not right at all.
MA STONE
Lan's, I'd think you was having the baby, to
hear you.
JABEZ
(after a pause)
Me -- a son.
He pauses and glances at the window as though somebody might be there looking
in at him. He sees only the dark clouds and the racked tree on which his doom
is carved. He speaks out of his fears:
JABEZ
Money -- money's a funny thing, ain't it, Ma?
MA STONE
I figure that depends a mite on how you get it
and how you spend it, Son.
JABEZ
(eagerly)
Do you really think that?
MA STONE
Why, that's just sense, Son. Now a man like
Daniel Webster -- guess they pay him high for
what he does. But he's worth it -- and he helps
others. Makes all the difference.
JABEZ
I know, Ma, but -- Suppose a man got his money
in bad ways --
MA STONE
(with a snap of her jaws)
Wouldn't profit him none.
Jabez is glancing again at the darkened window when there is a flash of
lightning, as though mocking him.
MA STONE
You see, son? I'm old and I've lived. When a
man gets his money in bad ways -- when he sees
the better course and takes the worse -- then
the devil is in his heart -- and that fixes
him.
JABEZ
Ma -- and yet, a man could change that,
couldn't he?
MA STONE
A man can always change things, Son. That's
what makes him different from barnyard
critters.
Jabez, having stared out of the window at the racked tree, now heads with
determination for the door.
MA STONE
Where you going, Son?
But Jabez does not heed her and goes out silently.
OUTSIDE THE STONE FARM: Dark clouds are rolling up steadily and there are
occasional flashes of distant lightning.
We follow Jabez as he hastens along and comes up to the racked tree. He looks
about him, rather furtively, taking care not to be seen, then takes out a
large pocket knife and attempts to gouge out the date that Scratch had fixed
on the tree. But he finds that the lettering is too deep and makes no headway.
And, giving up the attempt, Jabez determines on something else. He rushes to
the barn.
Now Jabez enters the BARN and hunts about. He finds an ax and is about to
start out to attack the tree again when the drumming of a great burst of hail
is heard on the roof and sheets of it are seen falling outside the barn door.
The pellets of hail are enormous. Then, as Jabez stops and whirls about,
Scratch emanates from the shadows, or is suddenly revealed in a flash of
lightning, standing calm, suave and smiling.
SCRATCH
Good evening, Neighbor Stone.
JABEZ
Look here now--
SCRATCH
Oh come, Neighbor Stone. I wouldn't cut that
tree if I were you. It means a breach of
contract.
JABEZ
I don't care.
SCRATCH
But you should, now that you are becoming a
father.
JABEZ
Leave your tongue off of that!
SCRATCH
Oh, certainly. I shan't even come to the
christening -- it would be tactless and in
wretched bad taste.
(laughing)
But I may send a friend of mine -- just for old
sake's sake. Yes, I might do that.
He strokes his chin thoughtfully.
MA STONE'S VOICE
(outside, calling)
Jabez! Jabez!
SCRATCH
Your mother! I find her a little difficult --
hardly the type for our sort of thing.
(stepping back)
Good night, Neighbor Stone.
Scratch bows and leaves, almost imperceptibly, through the rear door; one
moment he is there, the next he is gone, leaving Jabez staring after him. The
hail continues to fall. The cattle come out of their trance-like silence. The
horse stamps. Jabez goes toward the warped board where the money is hidden
when Ma Stone enters through the front door. Over her head she holds an old
coat to protect her from the hail.
MA STONE
(breathless)
Oh, here you are, Jabez. Lan's, I was worried
about you.... Hail in August! The crops will
be ruined!
JABEZ
It don't matter!
MA STONE
What's that you say, Son?
JABEZ
I say -- it don't matter.
MA STONE
(also greatly relieved)
Now that's the way to talk, Son! I know you
worked hard for that crop. But we'll make out.
JABEZ
Make out? We'll do better than that! I never
thought I'd be glad for bad luck, but I am. I
never thought I'd be glad of a hail storm at
harvest time, but I am! Oh, bless ye the works
of the Lord in the hail and the storm and the
rain!
Ma Stone nods again, lips still pursed. Hail drums loudly on the roof.
Twilight has dropped outside and it is dark.
The scene dissolves to JABEZ STONE'S CORNFIELD early next morning: We see not
only Jabez's cornfield but the fields of neighboring farmers, farther down
the slope and up the valley. In the bright light of the glistening morning,
Jabez's field of corn stands straight and high, the golden banners waving in
the breeze, unscathed by the devastating hail of the night before. But in
tragic contrast, the neighbors' fields are laid low to the earth, pelted down
into worthlessness. Jabez, Mary and Ma stand by the stone fence, near the
road, staring in wonder at the miracle of their standing corn.
MARY
Ruined -- all the fields -- ruined.
(kneels down as in prayer)
JABEZ
Mary -- but look -- it didn't touch an ear of
my corn -- we'll have a rich harvest.
MA STONE
For unto everyone that hath shall be given --
and he shall have abundance.
Jabez, lifting his head, looks at her with a sudden and unpredictable
challenge.
JABEZ
That's right, Ma!
As he stands there, silent under the bright morning, two farmers, owners of
the blasted fields beyond, pass him on the road, going down to their fields.
They walk with a discouraged slump to their shoulders and lagging steps. As
they come up to Jabez he greets them.
JABEZ
Helloh, Hank -- halloh Lem --
But they don't answer. They raise their eyes and look at him, and then at his
prosperous field and then back at him again. Their eyes seem to bore through
him with a burning accusation, and they hardly nod their heads in greeting as
they trudge on. Jabez looks after them, conscience-stricken. Then he turns
abruptly and starts back toward his farmhouse.
At the "WASHINGTON ARMS" TAVERN later that day. A group of farmers is
congregated in corners where the bar is located. Some of the farmers we have
seen before are there -- Lem, Noah, Tom Sharp, and others we have not seen,
keep on drifting in. Cy Bibber, the host and bartender, is serving drinks.
LEM
(at the bar)
Charge me up for another rum, Cy. Only way I
kin forget my troubles.
CY BIBBER
Sorry, Lem, but I'll have to count my pennies,
too.
STEVENS
(to Bibber)
Let him have one more -- on me.
(to Lem)
You'd think Stone's standing in good with
Providence, somehow.
LEM
My corn's no more use than a last year's crow's
nest.
STEVENS
Maybe you'd let me help you out a bit.
SETH
Seems like someone's giving us the horse-laugh.
TOM SHARP
Guess you're ripe and ready now to join our
Grange, eh, boys?
STEVENS
Now wait a moment, folks ... I can make you
some better terms.
At this point Scratch, in farmer's clothes, enters and comes to the bar.
CY BIBBER
Howdy.
SCRATCH
Howdy. -- Never did see such a hail! Big as
bowling balls out my way. Broke all the winders
an' nearly killed the cat. I'll have cider --
hard.
(turning to the others)
Boys, I'm here with an offer from Jabez Stone.
LEM
What's that?
SCRATCH
Well -- seeing as how due to yesterday's hail,
nobody's got nothing to harvest in his own
fields, Jabez says maybe you could help him
harvest his.
There is a pause as the farmers look at each other uncomfortably. They feel
the humiliation of this, but they know they are in no position to refuse.
SETH
(bitterly)
Never worked fer anybody else in my whole life,
'ceptin' when I was a shaver, and that was for
my old man.
TOM SHARP
I wouldn't do it.
LEM
Well -- dunno -- I'll think it over.
SCRATCH
(with a smile)
What's there to think about, boys? Here's a
dollar in advance for every one who will work
for Jabez.
He throws down money on the bar.
And now STONE'S FIELDS come to view. The farmers are cutting and shocking
Jabez's bumper corn crop -- Seth, Lem, Noah, Tom Sharp, and others. Jabez
rides through the fields on his sleek new horse, watching his neighbors
harvest his crops. He shows a certain condescension toward them which is akin
to arrogance.
Another view of Jabez's fields discloses the harvest, in great bursting
wagons, rolling into the barn. The big new barn is fast approaching
completion. The wagons keep on rolling into the barn, watched over by Jabez
like a Lord of the Manor. Not only is Jabez harvesting corn and hay but
autumn fruits, too, in abundance.
The scene then dissolves to the OUTSIDE BEDROOM in the evening while faint
festive music is heard -- simple folk-music played on fiddle, fife and banjo
mostly. It is coming from Jabez's new barn where the harvest festival is in
full swing. Outside is the great red harvest moon, just rising. Jabez goes to
the closed door and listens, putting his ear against it. He makes as though
to rap on the door, but changes his mind. He walks away again, digging his
hands in his pockets, and paces back and forth. Suddenly, Ma Stone opens the
door.
JABEZ
(rushing to help)
Ma -- is she? --
MA STONE
(complacently)
You'll be a father any minute now.
JABEZ
(gulping)
Golly, Ma --
(as music from barn swells up)
Consarn that music! Shouldn't a-had the
harvest festival tonight.
MA STONE
Fiddlesticks! She don't hear it. Got better
music to listen to than that.
(as there is the sudden cry
of a newlyborn child)
There -- that's what I mean.
Jabez stands spellbound as the strident cry of the child drowns out the music
of the dance, and Ma Stone turns back into the room. Presently, Jabez, on
tiptoes, moves to the room, frightened and trembling.
The scene dissolves to the OTHER BEDROOM at night. Mary is lying in a
fourposter bed. A maid, typically New England, and the doctor are there. The
doctor is just placing the baby, wrapped up in blankets, beside Mary and
prepares to leave. Things necessary to a birth are about the room -- kettle
and basin of hot water, towels, and other articles. Mary looks down from her
pillow at her baby, parting the cocoon of covers to see its tiny, wrinkled
face. Jabez tiptoes up to the bed.
JABEZ
Mary --
MARY
(smiling up at him weakly)
Hello, Jabez --
(after a pause)
Here's your son.
Jabez, too emotional to speak, stares down at the baby, a suspicion of
moisture in his eyes. Mary closes her eyes, weakly but happily. Ma Stone,
watching Mary anxiously, speaks in whisper to the maid.
MA STONE
Fetch a bed warmer, Dorothy.
The maid nods and goes out. Jabez still stands looking down on the baby as
the doctor is putting things back in his bag. Jabez takes up the baby,
awkwardly, as though handling something made of glass, and steps to the
window that looks out on the new barn. He raises the window and the music
comes floating into the room. He leans from window, holding the baby high in
his arms.
The NEW BARN at night (seen from Jabez's angle): There is a view of the front
barn door, thrown open, providing a glimpse of the merrymakers inside,
dancing. Groups, bathed in the light of the moon, stand near the door,
talking and laughing.
JABEZ
(calling down, boyishly)
Hey! Look, everybody! Look here! It's a boy!
The group at the door stands transfixed for a moment, then they begin to
cheer.
GROUP
Hurray for Jabez Stone! More good luck for
Jabez Stone! Hurray! Jabez Stone and his new
son!
The good word travels into the barn. Others crowd to the door. Musicians
swing into something gay and triumphant. Cups of cider are passed about. They
drink to Jabez and the new boy -- and to Mary Stone.
MA STONE
(behind Jabez)
Lan's, shut that window, Jabez! Want him to
catch his death of cold?
She takes the baby away from him.
JABEZ
(a little sheepishly)
Well -- I -- I-
MARY
Don't be cross with him, Ma. This don't happen
every day.
Ma Stone puts the baby down beside Mary again, in the curve of her arm. Mary
opens her eyes; she smiles weakly and snuggles her cheek down against the
baby. The baby cries and she hushes it.
MA STONE
You go down and see what's keeping Dorothy.
JABEZ
Sure, Ma.
He hurries past the doctor, still collecting his things; he pats him on the
shoulder, as man to man.
JABEZ
(as he goes out)
Thanks, doctor.
The KITCHEN: In front of the fireplace, with her back turned to the door, a
woman is standing. She is looking into the fire, seemingly musing over the
blinking coals. Jabez comes hurriedly downstairs.
JABEZ
(bursting in)
Dorothy -- what's keeping you so long? Mary
needs that --
He stops and looks intently. The woman turns slowly and looks him straight in
the eye. She is a young, slender woman, with a strange, sultry prettiness;
she is externally demure but underneath there is a definite feeling of
seething fire like the coals in the fireplace. She is simply dressed but
still better dressed than any woman we have yet seen in the picture.
JABEZ
(taken aback)
You're not -- Dorothy.
THE WOMAN
(quietly, in a low toned, musical
voice -- unhurried and deliberate)
No. She's gone.
JABEZ
(looking about incredulous)
She couldn't be gone!
THE WOMAN
But she is -- I've taken her place. Don't you
remember -- you wrote me a letter. Mrs. Stone
was too ill.
She digs down into the bosom of her gown and produces a letter. She shows it
to him. Jabez stares at it.
JABEZ
It -- it looks like my hand.
She lets the letter drop from her hand and it twirls into the fire where it
flares up abruptly.
THE WOMAN
I have other recommendations, too, from a very
good friend of yours.
She makes a movement as if to produce them from the same place.
JABEZ
(hoarsely)
Never mind. What's your name?
THE WOMAN
Belle.
JABEZ
Belle --
BELLE
Belle Dee. I'm from over the mountain.
JABEZ
(as if hypnotized)
From over the mountain --
Jabez continues to look at her and she holds his eye, steadily.
MA STONE'S VOICE
(calling down the stair)
Jabez! Jabez!
Belle turns to the fireplace to fill the warming pan with coal.
JABEZ
I'll take it.
BELLE
No -- that's for me to do.
She starts for the door passing on her way up Ma Stone who has gone to show
the doctor out.
The BEDROOM as Belle enters the room with the pan:
MARY
(out of a dream)
Jabez -- ?
BELLE
(her voice very gentle and soothing)
I've brought you something to keep you warm,
Mrs. Stone --
Belle props up Mary's pillows, making them more comfortable, and puts the bed
warmer in place. Mary simply stares at her. Instinctively her arm tightens
about her little son. The music from the harvest festival is heard from
outside.
BELLE
You're not resting well, are you? I know --
it's that music.
(she closes the window)
You need your sleep. Is there anything else you
want?
MARY
(very gratefully)
No, thank you -- what's your name?
BELLE
Belle --
MARY
Thank you, Belle --
She leaves as Ma Stone comes in.
MARY
(dreamily, as her eyes close)
What a nice -- and kind girl -- Who is she --?
MA STONE
The new girl -- Jabez says; she is from over
the mountain.
MARY
What mountain?
Then her voice trails off and she sinks into sleep.
The NEW BARN: The fodder bins and loft spaces are stuffed with the fruits of
the harvest. It is a very large barn, representing the prosperity of Jabez
Stone. Now it is brightly lit by lantern light and is decorated with sheaves
of barley, tall stalks of corn, pumpkins and golden leaves from the autumn
woods. The platform for the musicians is at the other end of the barn, and a
refreshment table, where cider is being served, is on one side of the wall.
On the opposite side are tables, groaning with food -- cakes, pies, cold
meats, sausages, chickens, ducks, etc.
A square dance is just beginning, as Belle appears, moving gracefully through
the gay crowd. She has found a gay shawl to drape about her shoulders -- an
exotic shawl that might have come into New Hampshire from the cargo of a
clipper ship, smelling of the Far East and dark ports of call. Everybody is
having a good time except Miser Stevens who sits gloomily in a corner. Near
the musicians' stand, where couples are gathering for the next dance, the
fiddler is Mr. Scratch, and as he looks down at Belle, he tucks his fiddle
under his sharp chin and begins to play, very softly. Belle stands, her hands
loosely clasped on her hips. Jabez comes up behind her.
JABEZ
Let's dance together -- Belle.
BELLE
(turning slowly)
No, Jabez -- your place is with your wife --
She smiles. The fiddler plays a little louder and the other musicians pick up
the tune. Belle dances forward, alone, and is leading the couples as they
start to dance.
BELLE
(gaily)
Faster -- faster --
Scratch, over his fiddle, smiles down at her and nods.
BELLE
(dancing on)
Faster -- faster --
She breathes this out at Jabez as she passes him. The dancers move faster and
faster. There is something utterly abandoned about it. The harvest moon
gleams in at the great door. Then the scene fades out.
The BEDROOM, cold moonlight in the room: It is a winter night, and a candle
burns beside Mary. Between Mary and Jabez lies the baby. The baby cries and
Mary turns and tries to soothe it.
MARY
Shh -- go to sleep, little Daniel -- go to
sleep.
The baby continues to cry. Mary hums a little song to the child.
MARY
(singing)
Potato bug sits on the leaf in the sun,
Sleep, sleep, my baby --
Raccoon sits in the spruce all night,
Sleep, baby, sleep --
JABEZ
(who has not been asleep,
speaks irritably)
What in sugar hill's the matter with him?
MARY
Nothing, Jabez -- just natural for a baby to
cry, sometimes.
(as the baby still cries, she
tries to quiet him again)
Shh, little Daniel -- sleep -- sleep --
She continues her song, but it does not help.
JABEZ
(flinging back the covers angrily)
Consarn it!
He gets up.
MARY
Jabez!
Jabez is getting into his trousers.
MARY
Where are you going -- ?
Jabez opens the door, still struggling with his clothes, and goes out,
shutting the door after him. Mary sits up in bed, looking bewildered at the
closed door.
MARY
(calling)
Jabez! Jabez!
His footsteps dwindle down the stairs. A silence. Mary drops back on her
pillow. Tears start to her eyes. She blinks them away. The baby keeps on
crying.
The scene dissolves to a COUNTRY ROAD IN WINTER, the sun shining on the banks
of snow. Visible now is Jabez's sleigh, the graceful, swan-like kind of 1840,
and Jabez's new, sleek horse is pulling it. There are bells on the harness,
gaily jingling as the sleigh goes skimming over the icy road, up hill, then
onto a lake, locked in ice.
Next JABEZ'S SLEIGH appears at close range and Jabez is seen driving with
Belle, in becoming winter costume, seated beside him. The keen wind blows
against her cheeks, reddening them into the semblance of Christmas berries,
hard and brightly scarlet. Her eyes glitter like sparklets of frost. Jabez
wears a coonskin cap and a great winter coat. He is urging on the horse,
faster and faster, flicking its rump with his whip.
JABEZ
(laughing)
Golly, Belle, that was a good idea -- we should
do that every morning.
BELLE
We will --
Jabez laughs. Belle laughs, too, very softly.
BELLE
Make him go faster, Jabez -- faster --
faster --
Jabez calls to the horse and flicks the whip. They skim on toward the lake.
The LAKE is seen closer: It is day, and the lake is like a jewel of crystal
in a setting of black spruce trees. We see the dark figure of a man, on the
ice of the lake, stooping over a hole he has cut there.
Now the sleigh appears on the edge of the lake.
JABEZ
(standing up in sleigh
and waving his whip)
Hey, you! Hey!
A close view discloses a man by the hole in the ice. Bundled up in heavy
clothes, the man is fishing. He is pulling up a fish through the hole, beside
him a pile of fish he has just caught. He turns as he hears Jabez's voice.
JABEZ'S VOICE
You can't fish there! Private property! I'm
Jabez Stone! I'll have the Sheriff after you!
The man, frightened, begins to run. He leaves his other fish behind him, but
holds onto his line with a fish dangling to it. He runs across the ice,
slipping, falling, getting up again and running. He plunges into the spruces
on the other side of the lake.
A close view of Jabez's sleigh discloses Belle laughing as she watches the
man running and falling on the ice. Jabez is still standing up in the sleigh,
brandishing his whip and laughing, too. He drops back in the sleigh again as
the man disappears.
JABEZ
(still laughing)
It's wonderful to frighten people like that --
and watch them run.
As Jabez picks up the fish the scene dissolves to the KITCHEN, where a bright
fire is burning in the fireplace. Ma Stone is standing by the doorway to the
stairs, dressed in her Sunday clothes, wearing her new shawl, and putting on
her bonnet. The baby is lying in its cradle by the fire.
MA STONE
(calling upstairs)
Mary! Ready? First bell's a-ringing!
MARY
(coming downstairs)
Yes, Ma -- I'm ready --
She enters the room, dressed in "Sunday-best" also. The baby whimpers and
Mary starts toward the cradle, but before she gets there, Jabez and Belle
enter. They are dressed as we last saw them in the sleigh, and their faces
are ruddy from the wind over the snow. Belle instantly crosses to the cradle;
she throws off her heavy wrap and kneels beside the baby, crooning to it, and
the baby stops crying. Jabez strides to the table and throws the fish down on
it.
JABEZ
(turning to Mary)
Good morning, Mary. Brought some fish for us.
Want you to cook 'em for breakfast.
Mary turns and looks at him, her soft eyes filled with pain and confusion.
MA STONE
She'll do nothing of the kind! She's going to
church with me, right away!
MARY
(voice shaking)
Jabez -- for the good of your soul ... please
come with us.
JABEZ
I want you to fix these fish!
MA STONE
And I say she won't! I'll not have the scorn
of God on this place -- with the smell of fish
in it, polluting up the Sabbath!
(turning to Belle)
And as for you -- let me tell you, young
woman...!
Church bells are heard faintly.
MARY
Come along, Ma. Second bell's a-ringing.
Mary crosses to Ma Stone and they go, closing the door behind them. We hear
Mary and Ma driving away in the buggy.
JABEZ
We'll cook 'em ourselves. You'll help me, Belle.
BELLE
Of course I will.
At this moment, the front door opens and Stevens enters.
STEVENS
Mornin', Jabez ...
JABEZ
Hello, Stevens ... you're early today.
STEVENS
Yes, I wanted to get here before the others....
I want to talk to you alone.
JABEZ
Some other time, Stevens.
Jabez hurries about the room, arranging chairs and pulling out a table from
the wall. He seems to know exactly what to do, from long practice. He goes to
the cupboard, brings out some bottles of rum and hard cider and cups, and
goes to a drawer in the table and produces a dice box and dice. There is a
rap on the back door, and Belle goes gracefully to the door and opens it,
making a low curtsy. Squire Slossum, Aaron Coffin, the heavy-set banker of
Cross Corners, and two other silent, poker-faced men sneak in.
SQUIRE AND OTHERS
(the Squire beating his
cold hands together)
Good morning, m'am -- Good morning, Jabez.
JABEZ AND BELLE
Good morning.
BELLE
Sit down, gentlemen.
SQUIRE
(ogling her)
Thanks, m'am.
He sits, pompously, at the head of the table. The others sit about the same
table. Jabez draws up a chair, too, and takes up the dice box, rattling the
dice.
SQUIRE
I almost forgot --
He brings out a roll of bills and hands them reluctantly over to Jabez.
JABEZ
I hope you'll have better luck today, Squire.
Jabez counts the bills, avidly and over-carefully, holding some up to the
light to see that they are not counterfeit; then pockets the bills. He begins
to roll the dice as each man silently stacks up his betting money before him.
The game proceeds, and Belle serves the rum and hard cider, watching the men
as they play. Suddenly the baby begins to cry again. Belle goes to it
instantly, and takes it up from the cradle and rocks it in her arms. She
croons to it. The song she croons is a French lullaby. It has a strange,
haunting melody, and the French words fall curiously in that New England
kitchen.
SQUIRE
(again ogling her)
You French?
BELLE
(looking at him through
half-closed eyes)
No -- I'm not anything.
She goes on singing.
JABEZ
Your game, Squire!
There is a commanding rap on the door. The players are startled, and they
pause.
BELLE
(looking out the window)
Sheriff's coming --
Belle very calmly goes to the door.
JABEZ
Come in, Sheriff.
SHERIFF
Jabez -- seems like I've been hearing talk
around. Reverend Harper thinks more Cross
Corners folk oughter be in church, Sabbath
morning.
JABEZ
Belle, give the Sheriff a cup of rum.
THE CROSS CORNERS CHURCH, with the congregation assembled: It is the very end
of the service. The severity and serenity of the Sabbath peace lies like a
blessing over the bowed heads of the faithful. In the third pew we see Ma
Stone and Mary, with an empty place beside them.
VOICE OF MINISTER
Almighty God, who hast given us this good land
for our heritage; we humbly beseech Thee that
we may always prove ourselves a people mindful
of Thy favor and glad to do Thy will. Save us
from discord and confusion; from pride and
arrogancy, and from every evil way ...
MARY
Save Jabez from pride and arrogancy, and
from every evil way.
VOICE OF MINISTER
In the time of prosperity, fill our hearts with
thankfulness, and in our day of trouble, suffer
not our trust in Thee to fail -- amen.
VOICE OF CONGREGATION
(in unison)
Amen.
They lift their heads. The church bell begins to peal. Another service is
ended.
The KITCHEN: The bells peal through this and now faintly come to the ears of
the players, among them the Sheriff. They look up. The last dice are rolled
quickly. Money is gathered in; debts are paid. Silently, and in haste, the
guests collect their coats and hats and mufflers. They begin to file out the
door.
SQUIRE
Good-bye, Stone -- next Sunday, as usual.
He smiles unctuously at Belle and goes out. When they are all gone, Jabez
closes the door. Belle is putting away the table and the cups and jugs. Jabez
hides the cards. Belle returns to her care of the baby. She sits demurely
down on a low stool beside the cradle and begins to rock it, humming softly
to the child. The bells from Cross Corners gradually stop ringing over the
snow-locked countryside. Jabez draws up a chair to the table and begins
adding up his winnings in his account book and ledgers.
He hunts for the date in an old-fashioned almanac ... finds it ... puts his
finger on it. We see Jabez's fingers turning the pages of the almanac -- the
leaves turning swiftly, and we see the years drop away, faster and faster --
leaves of the years falling from the tree of Time.
BLUEPRINTS of a house (Jabez Stone's mansion) appear. Jabez's hand makes
notes and corrections. Details of the front view of the new house appear
until finally the full view of the mansion is seen over the shoulder of a man
on horseback, dressed for fox hunting. Workmen are still putting the
finishing touches on the new house. Furniture is carried in through the
doors. The man on horseback slowly turns his head -- it is Jabez Stone. He
looks back at the old farm where he was born. Then the scene fades out.
The EXTERIOR OF THE FARMHOUSE fades in. It is morning, and Ma Stone, in her
regular old working clothes, grimly sticking to them in a spirit of defiance,
is tending her flower beds and "herb" garden, near the side porch,
transplanting tender new slips. Her sleeves are rolled up and her arms and
hands are covered with good earth. She is kneeling over a flower bed. Jabez's
little son Daniel is with her.
DANIEL
Granny, when do we move to the new house?
MA STONE
Move? -- We are not going to move -- the old
one is good enough for us.
DANIEL
But I like the new one better.
MA STONE
That's just too bad --
Daniel, very cautiously, takes out his beanshooter. A mother hen and her
chicks come around the side of the house, pecking up bugs and worms from Ma
Stone's garden. Daniel loads his mouth with dried beans and aims the
beanshooter at the chickens. He makes a direct hit on the old mother hen. She
squawks and flies up in the air with a great flapping of wings. The chicks
cheep frantically and run about.
MA STONE
(startled out of her skin)
Lan's to goodness, what happened to that hen?
Did you use that beanshooter again?
DANIEL
(all innocence; hiding
the beanshooter)
I did not, Grandma.
MARY
(coming from kitchen
door behind them)
Yes, you did, Daniel! I saw it from the window.
And then to lie about it! Give me that
beanshooter, Daniel!
DANIEL
(jumping up and dancing away)
It's mine, Ma! Pa made it for me -- and I'm not
going to give it to anyone!
MARY
(reaching for it)
Daniel give me that beanshooter!
DANIEL
(attacking Mary)
No! No! I won't.
MARY
Daniel! ...
(catching him)
I've stood just about as much as I can bear!
Mary drags the yowling Daniel toward the woodshed that is not far from the
kitchen door; a sort of lean-to on the rest of the house as was the custom
then. At this moment Jabez rides up on horseback with Belle beside him.
JABEZ
What happened.... Where are you taking him?
MARY
I am going to lock him up.
JABEZ
(dismounting)
You're not supposed to punish my son, Mary.
BELLE
That's my business. -- Now, it's all right,
Daniel.
(to Mary as Daniel
continues to cry)
What did he do?
MARY
He lied to me again.
DANIEL
I did not!
BELLE
(to Mary)
He never lies to me.
(to Daniel)
Don't cry, Daniel -- I believe you. You're
always a very good boy and -- now come along.
She leads him into the house.
MARY
(to Jabez)
Jabez -- how can you let her talk like that
when the boy is present? He won't respect me
any more.
JABEZ
(coldly)
Isn't that your own fault?
MARY
My fault? ... Oh, Jabez -- all I want is to be
proud of him. He can be such a fine boy, if we
show him how to be.
JABEZ
He's my son and I like him the way he is. Why
do you always have to pick on him? If it's not
the boy it's me. You don't like the way I live
-- you don't like my friends, or my new house
-- or anything.
MARY
But Jabez, I never said that!
JABEZ
It shows on your face.
MARY
Well -- I am worried about the way you've
changed. That was one thing you said you'd
never do -- remember?
JABEZ
Oh, for heaven's sake, leave me alone!
Daniel and Belle are coming out of the house. Jabez picks him up.
JABEZ
Come on, Daniel -- we'll go fox hunting in the
upper pasture.
DANIEL
Hurray!
(pulling out beanshooter from
his pocket and waving it)
I'm going to shoot the old fox dead with my
beanshooter.
Jabez, laughing, lifts Daniel on his horse.
DANIEL
(calling to Ma Stone)
Grandma, look at me!
MA STONE
(squinting up at him but still
squatting beside the flower bed)
I see you! Riding pretty high, ain't you? Look
out you don't fall off.
DANIEL
Not me!
(pretending to balance
himself, using his arms)
Jabez, Daniel and Belle ride off.
MA STONE
(to Mary)
Fox hunting -- a Stone going fox hunting on a
week day -- and the earth crying out for the
touch of him!
MARY
Now, Ma -- You just try to set an example for
me, and keep hold of yourself.
MA STONE
(rising from flower bed)
Me? Why, look here, Mary Stone -- I'm worried
about you, that's all.
MARY
Worried about me! Well, you just stop it!
MA STONE
What's that?
MARY
(something steely in her voice)
I said you should stop worrying because I've
made up my mind!
She turns and goes quickly into the house. Ma Stone looks after her,
concerned....
The scene dissolves to a ROAD THROUGH MARSHFIELD ON DANIEL WEBSTER'S FARM in
the late afternoon: This is a fair, fertile countryside, and all about are
the green fields, smiling under June skies. Mary is seen driving Jabez's old
buggy up the road. A farmhand with button-like black eyes and a friendly
smile is walking along the road.
MARY
(stopping the horse)
Mr. Webster's place?
FARMHAND
Yes, m'am -- musta come many a long mile, m'am.
Horse looks tired -- moving like cold molasses.
MARY
Yes -- we have come a long way -- all the way
from Cross Corners to see Mr. Webster. I hope
he's at home.
FARMHAND
Yes, m'am -- he's here.
The FIELD OF THE WEST TWO HUNDRED, discloses Webster mowing his clover field,
two farmhands, giant young men, working with him.
OLD FARMHAND'S VOICE
(calling through this)
Hey there, Dan'l! Black Dan'l!
WEBSTER
(pulling in the oxen; turning
toward road and calling lustily)
Hullooo!
OLD FARMHAND'S VOICE
Someone to see you, Dan'l!
WEBSTER
If it's the British Minister, take him around
to the pantry and give him some Madeira --
OLD FARMHAND'S VOICE
Just someone from New Hampshire!
WEBSTER
(shouting)
Why, that's different!
(to the other farmhands)
Well, boys, I guess we'll knock off. I've got
to see a friend.
He turns over the oxen to the other men and starts striding across the field.
The scene dissolves to the DINING ROOM AT MARSHFIELD that evening. It is a
splendid big room of the period, full of comfortable living and good cheer.
Webster is at the head of the board and Mary sits at his right. A generous
meal has just been eaten. They have finished their dessert, with most of the
dishes cleared away.
WEBSTER
Well Mary, it's too bad I didn't know -- I
would have given you a real dinner, but with my
wife being in Washington -- Have another piece
of pie --
(starting to cut a generous slice)
MARY
No, really, thank you. -- Is Mrs. Webster
coming back soon?
WEBSTER
Well -- she hardly ever comes here -- she's not
the type of woman who cares to live in the
country. Yes -- I'm all on my own -- sometimes
it makes you feel a little lonely --
(he pulls out a big cigar)
Do you mind if I indulge?
MARY
Of course not --
WEBSTER
No, you wouldn't -- You're not the sort of
woman that's afraid of smoke -- or fire --
But now let's talk about your affairs.
MARY
Goodness, Mr. Webster, I've done nothing but
talk about that all through dinner.
WEBSTER
Yes, you've chatted a lot, woman-like nibbling
around the edge -- But, Mary, forgive an old
lawyer's legal mind, I don't think you ever
once came to the point. And there is a point,
isn't there?
MARY
Why -- yes -- it's hard to put it into words,
Mr. Webster. There's this matter of little
Daniel's schooling and the new house -- and
well -- there's something else that's wrong --
it gets worse, year after year -- it's like a
shadow growing -- I can't really talk about it,
even to Ma -- she puts it all on Jabez and I
won't stand for that.
WEBSTER
I've heard some odd things about Jabez lately
-- he seems to make the wrong kind of name for
himself.
MARY
Mr. Webster, you mustn't believe all that
people say.
WEBSTER
You don't have to defend him to me, Mary --
I've been called names myself.
MARY
You see, I don't care if we are rich or poor --
I don't care if we're big or small, all I care
about is Jabez. He was the first man I loved.
He never used to care about money -- we were
poor as Job's turkey, but none of us minded.
Now I've seen him drive the poor from the door,
and we used to be poor ourselves. I've seen him
get hard and mean, and he isn't hard or mean.
I've heard him mock at the church bells -- the
bells that rang for our wedding. That's not
like him, Mr. Webster -- It must be my fault
somehow -- my fault.
WEBSTER
Mary -- you've talked to me as you might have
talked to your father and I believe he wants me
to help you a little. You see, sometimes we
think we're licked in this life -- but we
weren't put here to be licked. Don't you
believe it. Sometimes the shadows seem to get
hold of us -- the shadows and the evil -- but
it is still up to us to fight. Now I was
thinking before you came, of coming over to
Cross Corners end of the month, to get
acquainted with my Godson -- and other things.
MARY
(breathlessly)
Oh, could you, Mr. Webster ?
WEBSTER
And now come on, Mary. I want to show you the
all-fired biggest parsnips in the whole United
States, raised right here in Marshfield -- of
course!
He links arms with her, in a warm, affectionate, fatherly manner and walks
her toward the door.
The scene dissolves to the HALL OF JABEZ'S NEW HOUSE at night: The last
finishing touches are being done by the workmen. For that part of the
country, the house is ostentatious to the last degree. Perhaps it is borrowed
freely from the Adams period. Jabez stands in front of a mirror, getting a
fitting from the Tailor, who is just about to take off the sleeve from the
evening coat Jabez is wearing. Belle is looking on.
JABEZ
Looks all right! -- Do you have to tear it all
down again?
TAILOR
I'm sorry, sir -- that's part of the fitting.
JABEZ
Well, as long as you have it ready for the
party --
(to Belle)
Look, Belle -- that'll give the folks something
to talk about --
BELLE
(correcting him)
The people, Jabez -- the people.
JABEZ
The -- folks or people, what's the difference
among friends?
The Squire comes in.
JABEZ
Howdy, Squire! Howdy! Oh -- how do you do,
Squire.
SQUIRE
How do you do, Belle? How are you, Jabez?
(looks about, very much impressed)
Well -- mighty elegant house you got here.
JABEZ
You really think so?
Now two workmen come through the room, carrying a billiard table.
JABEZ
(to the workmen)
Hey, you! Watch out there -- you're scuffing my
Brussels carpet -- Consarn them.
BELLE
Jabez! Careful --
JABEZ
Oh --
(confused)
Didn't mean to talk like that in front of a
lady.
(to Belle)
Get some wine for the Squire, Belle.
SQUIRE
Well, Jabez -- I'm a little pressed for time.
You wanted to discuss something -- some
business --
JABEZ
Oh yes -- yes. Won't take a minute. Can you
keep a secret?
SQUIRE
Why of course --
JABEZ
Dan'l Webster is coming to my party.
SQUIRE
Dan'l Webster?
JABEZ
Yes -- and that's the reason I wanted to talk
with you. You got my invitation?
SQUIRE
Yes.
JABEZ
(taking out a paper)
Now look -- here's a list of the people I
invited -- they're all the right kind of people
-- or did I miss anybody?
SQUIRE
(glancing over the list)
The only one you missed -- is the President.
JABEZ
You think that's a joke? I had him on there
too, but I was afraid Dan'l Webster might feel
insulted.
The Squire makes a move to return the list.
JABEZ
You keep that -- that's for you. I want you to
talk up the party to make sure that the best
folks really come.
SQUIRE
You want me to go around --
JABEZ
Yes siree -- that's the idea. Get them all
here and then say: "Look, folks -- here's
Daniel Webster, my guest of honor." Golly, I
can see their eyes pop already.
SQUIRE
You mean that's all you had me come out here
for?
JABEZ
Now, Squire, you're not going to let me down.
We still want to do a lot of business together,
don't we?
SQUIRE
Well -- yes --
JABEZ
That's fine. Now you can tell people all about
the house, but don't mention Webster.
SQUIRE
You are not so sure that he'll come.
JABEZ
Oh yes -- I am -- want to bet?
SQUIRE
Why not -- ?
JABEZ
How much?
SQUIRE
5000 -- that's just what I owe you.
JABEZ
(extending his hand)
Shake!
They shake hands.
The scene dissolves into a ROAD TO CROSS CORNERS. It is day, and a carriage
drawn by two magnificent horses appears, driven by Webster. The carriage is
brought to a stop as it reaches little Daniel who is reading a handbill from
a circus.
WEBSTER
(calling)
Hello, Colonel! Want a lift?
DANIEL
Well, I wouldn't mind.
(as he runs up to carriage)
But my name's Daniel Stone.
WEBSTER
All right, Daniel. Jump in.
Daniel does so, and they drive along the road.
In WEBSTER'S CARRIAGE as Webster and Daniel are driving along the road toward
Cross Corners.
DANIEL
Gee -- that Fair --
WEBSTER
It hasn't opened yet?
DANIEL
No -- but I can hardly wait -- Mister -- tell
me, will there really be --
(spelling it out)
-- a man that eats fire?
WEBSTER
Guess there will, if it says so.
DANIEL
And two unpara-- unparalleled Cir-cass-ian
beauties? What is that?
WEBSTER
Young man -- you got me there.
DANIEL
(looking at the handbill again)
'N Daniel Webster will be there.
WEBSTER
(chuckling)
A varied list of attractions. And which would
you like to see first, Dan'l?
DANIEL
I think I'd like to begin with the fire-eater --
WEBSTER
And what about Daniel Webster?
DANIEL
Well, I thought he'd come in the middle.
WEBSTER
(laughing)
And serve him right!
Webster is driving faster now. He talks softly to the horses. Daniel fumbles
in his coat pocket and slyly brings out his inevitable beanshooter. He puts
beans in his mouth and when Webster isn't looking, blows a bean at the rear
of one of the horses. The horse shies. Webster turns and catches Daniel
before he can hide the beanshooter.
WEBSTER
Daniel! Don't ever let me catch you doing that
again!
DANIEL
Why? It don't hurt.
WEBSTER
It does hurt! And don't you do it again.
A pause. Webster urges on the horses as he chooses not to say anything more.
The horses fly along the road.
DANIEL
Make them go faster, Mr.... ?
WEBSTER
No, Daniel -- they are not race horses. They
are good old friends of mine. I call 'em
Constitution and Bill of Rights, the most
dependable pair for long journeys. I've got one
called Missouri Compromise, too, and then
there's a Supreme Court -- fine, dignified
horse, though you do have to push him now and
then.
DANIEL
Golly -- I'd like to see all your horses!
WEBSTER
Maybe you can, sometime, Daniel. I'm a farmer,
you know, and like to show my farm -- but the
thing I'd like to show you most, you'll have to
see for yourself.
DANIEL
What's that, sir?
WEBSTER
Well -- it's high and it's wide and it goes a
long way and there is a wind blowing through it
and a blue roof over it -- it's the hills up
here and the rivers running south and the new
States growing in the West.
DANIEL
Anybody can see that.
WEBSTER
You're wrong, Mr. Stone. There are people who
live and die without e'er seeing it. They can't
see the country for the money in their pockets
-- And some think their state's the country, or
the way they live is the country, and they're
willing to split the country because of that.
Well, I hope you'll meet all those, when you're
grown. You'll meet the fire-eaters and the
Circassian beauties -- that's part of the fair,
to be sure. But if we'd had to depend on them,
in a permanent way, the country would have
stopped at the Allegheny mountains.
DANIEL
But it didn't stop. I know it didn't stop.
Granny told me it didn't.
WEBSTER
No, siree, it didn't. And it won't -- no matter
what happens -- just as long as the folks at
the fair believe in freedom and Union. So --
(to the horse)
Giddyap, Constitution -- and let's keep going,
Mr. Stone.
They drive ahead.
DANIEL
(shouting excitedly)
Faster -- faster --
He takes out his beanshooter and uses it again on the horses. Webster brings
the buggy to a stop.
WEBSTER
(grabbing Daniel more firmly)
I think this is coming to you, young man! --
He turns him over his knee, taking the boy completely by surprise.
WEBSTER
I told you not to do that again.
He begins to spank him. Daniel yowls.
At the INN IN CROSS CORNERS, with a crowd of farmers:
THE CROWD
(calling)
Black Dan'l! Hurray for Daniel Webster! The
Union and Black Dan'l! Hip, hip, hurray!
They rush forward. And now we see Webster's carriage. Webster is just
finishing spanking Daniel as the rest of the crowd surround the carriage to
greet him. A close view reveals the boy, Daniel, sprawled across Webster's
knee. He looks up with tear-stained face as he hears the magic name of Daniel
Webster! His eyes open wide. He stares. Then, in complete humiliation, he
escapes through the crowd. -- Now we see Webster as the Squire approaches him.
WEBSTER
Well -- well -- what's this? I thought I'd meet
you all down there at Jabez Stone's house-
warming. I hope you didn't wait for me to lead
the parade.
SQUIRE
Not exactly, Mr. Webster. -- We wanted to have
a little chat with you before we go to the
party. Do you mind having a drink with us?
WEBSTER
Do I mind having a drink with you, gentlemen?
What a question to ask Daniel Webster!
Webster climbs from his carriage and goes to the inn followed by the Squire
and the rest of the crowd.
The scene dissolves to the KITCHEN OF THE OLD FARMHOUSE at night: Ma Stone is
sitting by the window shelling peas. She interrupts her work to peer out into
the darkness. Steps are heard above and as Ma turns around Mary appears at
the foot of the stairs in her party dress. There is a moment of silence.
MA STONE
So you've made up your mind to go to the party.
MARY
You aren't angry with me?
MA STONE
Ah, fiddlesticks -- you are old enough to know
what you are doing.
They go to the door.
The FRONT YARD: As Mary walks away through the darkness Ma stands in the
doorway looking after her.
MA STONE
(calling)
Be sure to let me know if Daniel is over there.
MARY
I won't forget.
Mary walks on as Ma looks after her. In the distance we see the flickering of
the lights in the new house.
The scene dissolves to the RECEPTION ROOM OF JABEZ'S NEW MANSION, moving up
impressive front stairs and through the great door into the hall with its
grand staircase, and then into a reception room. Here are found a great many
of the treasures that Jabez has bragged about. Servants of every description
are waiting, and a small orchestra is in one corner, tuning up. There is a
decided air of pretentiousness about it all, contrasting pointedly with the
dance in Jabez's barn, years before.
Mary, dressed in a simple but becoming party gown, moves quietly about,
seeing that all is correct and in readiness -- a demure and charming hostess,
hiding her real feelings quite successfully, for the moment. Jabez enters,
just having come downstairs, dressed to "kill." He goes to a full-length
mirror on the wall, tying his cravat. There is something utterly pompous
about him, at the same time tragic in its implications.
JABEZ
(looking at his watch,
then turning to Mary)
Why don't they come --
MARY
(helpless)
I don't know, Jabez.
Jabez walks up and down, waiting. Suddenly he turns to the orchestra.
JABEZ
Play some music -- something gay and jolly.
The orchestra starts to play. Then Jabez, after another interval of nervous
waiting, turns to Mary again.
JABEZ
Think this room is larger than anything
Webster's got at Marshfield? You've been there.
What about it, Mary?
MARY
It's -- different, Jabez -- that's all.
JABEZ
(looking again at is watch)
What's the matter with 'em? Why don't they
come?
Little Daniel comes running down the stairway, followed by Belle who is
dressed elaborately for the party. Jabez doesn't take any notice of the boy,
being so worried. He continues to walk up and down.
MARY
Daniel, you ought to be in bed.
DANIEL
No, no, I don't want to go to bed. I want to be
here for the party.
He runs from the room. Jabez in his walk approaches the window, where faces
appear pressed against the glass.
JABEZ
(to Belle)
What are those people doing there? What do they
want?
BELLE
They're just outsiders. They want to see how
fine Jabez Stone lives these days. They're
waiting for your guests, too --
Jabez turns away from the window and as he passes the orchestra, which has
just finished a piece, he relieves his tension by shouting at them.
JABEZ
Consarn it -- I'm paying you for playing -- so
keep on playing.
The musicians hurriedly start to play another selection. But, before they can
begin, a bell is heard. It cracks the silence. Jabez jumps to attention and
Belle moves from the window. Mary stands stiffly, as a servant, or lackey,
hurries to the great front door. The orchestra strikes up, triumphantly.
A Lackey hurries to the door and opens it. A small, pinched figure in rusty
black, stands on the great steps. It is Stevens. He takes off his old beaver,
stove-pipe hat and cringes in, stepping with an obsequious air. The Lackey
takes his hat which he hardly wants to let go. He crosses to Mary. Mary makes
a curtsy and Stevens takes her hand, eager for the warmth of it.
MARY
Welcome, Mr. Stevens --
STEVENS
Good evening, Mrs. Stone.
Nervous and cringing, he crosses the threshold and enters the reception room.
The RECEPTION ROOM: Stevens crosses to Jabez.
STEVENS
Good evening -- I'm sorry, Jabez -- I'm a
little late.
JABEZ
No, you're not.
STEVENS
(looking around)
Where's everybody?
JABEZ
I dunno -- I can't figure it out. I've invited
them all. Why don't they come?
DANIEL
They're all at the inn. I've seen them.... Mr.
Webster's there, too....
The scene dissolves to the INN IN CROSS CORNERS, where Webster is sitting
with Tom Sharp, Eli Higgins, Hank and a number of other farmers around a
table. Webster is looking over a number of contracts -- the same which the
farmers signed with Jabez.
TOM SHARP
(to Hank)
Show Mr. Webster that foul contract you got
with Jabez Stone.
Hank produces a worn bit of legal paper and hands it over to Webster. Webster
compares it with the other contracts.
WEBSTER
He's certainly made himself the big frog in the
little puddle around here, hasn't he?
FARMER
And it all looked so simple when it started --
like getting loans for nothing.
(to Tom Sharp)
I should have listened to you, Tom.
WEBSTER
(slowly)
Well -- he's got you, I'm afraid -- got you
sewed up tight in his money pocket. Guess
you've sold your souls, gentlemen!
The scene dissolves to the RECEPTION HALL IN STONE'S MANSION, where the
situation hasn't changed -- no guests are there but Miser Stevens. Belle goes
over to Mary who is still waiting at the foot of the stairs to play her part
as the hostess.
BELLE
I see why you're here -- you knew that nobody
was coming.
MARY
I didn't.
BELLE
You're lying.
MARY
Lying to you -- Why should I?
BELLE
You know that you're in my house.
MARY
I know -- and you could show me the door. You
would, too, if you weren't still hoping the
guests might arrive.
BELLE
You think you're so smart, Mrs. Stone. You
wanted to be near Jabez. It looked like your
big chance tonight, but you're wrong, you can't
win him back -- not that way.
MARY
That's my problem, Belle.
And she walks away.
Stevens is sitting at the table. Jabez sits next to him, just dismissing the
little boy, Daniel.
JABEZ
Now run along, Daniel.
STEVENS
(as Daniel leaves)
What a fine boy you have, Jabez. How old is he
now?
JABEZ
Almost seven.
(correcting himself quickly)
No -- no, he's not seven yet I am sure --
STEVENS
Well -- it seems to me -- I remember when you
paid me--
STEVENS
(interrupting quickly)
Oh, never mind -- let's have a drink.
Stevens looks strangely.
JABEZ
What's the matter with you?
STEVENS
You are afraid!
JABEZ
Afraid ... of what?
STEVENS
-- of what happens after we die!
JABEZ
Are you plumb crazy, man! What do you think
happens? We're buried -- that's all.
STEVENS
But what becomes of our souls?
JABEZ
Why do you fret about something that isn't
there?
STEVENS
(with a frantic note in his voice)
Don't say that -- I know it is --
JABEZ
(swigging down another drink)
All right -- so it's buried with you!
STEVENS
What if one hasn't a soul any more? What of
that?
JABEZ
(disturbed)
Huh? -- What's that?
(a pause; he gulps,
then hurries on)
Well -- what about it? Who cares, anyhow?
STEVENS
I do -- and I think you should too.
JABEZ
(suddenly, excited)
Stevens -- what's all this leading up to? You
know something. Come on! Out with it -- you
know something about me!
At this moment they are interrupted. Men and women with common faces, the
same faces we have seen behind the windows, are pouring in. Belle leads them.
The guests, who have flocked around, bow to Jabez.
JABEZ
(to Belle)
Who are these people?
BELLE
They are all friends of mine -- from over the
mountain.
(to the crowd)
Welcome! Help yourselves to drinks! Glad you
could come! Have a good time.
Jabez, dumbfounded, shakes hands with people he has never seen before.
Stevens is shoved aside. The orchestra begins a strange dance tune, and Belle
glides over gracefully to Stevens.
BELLE
Let's dance, Mr. Stevens.
STEVENS
(frightened)
No -- no -- I can't dance --
BELLE
Oh, yes -- you can dance with me. I'll guide
you --
(taking his hand)
You see -- it is all so easy -- like that --
(and she takes a few steps)
You see -- so easy --
They begin to dance, slowly at first, around the room. Others are dancing --
the strange, thinly-clad people in their heavy boots that clump over the fine
oak floors. Mary stands in the doorway, watching miserably, seeing Jabez
drinking more rum, laughing loudly -- all this to cover his growing fears,
and Mary knows that.
The HALLWAY, just in front of the big outside doors: There is a rap on the
door and Mary rushes to it, getting there before the lackey can. She opens
the door herself and Webster comes in.
MARY
(taking his hand)
Oh -- Mr. Webster -- I'm so glad you came!
WEBSTER
(peering at her eager
but distressed face)
Are you, Mary? Well, I guess I'm glad myself
-- seeing as how you feel this way.
(he looks into reception room,
at the whirling dancers)
Party seems to be quite a success.
(with a wry smile)
Lots of guests, anyhow.
Mary looks at him and Webster sees that her eyes are moist and that her lips
tremble. She might say something; might break the shell of her New England
reserve, but before that can happen, Jabez comes strutting out. His face is
flushed from rum and his eyes are unnaturally bright. He comes to Webster,
his hand thrust forward.
JABEZ
Well -- Mr. Webster! This is a great day for
me. Come on in, sir. I want you to take the
seat of honor and meet all my guests!
WEBSTER
That's just fine, Neighbor Stone -- but -- I
have to be pretty careful of my seats of
honor -- where I sit, I mean. You see, the
whole country sort of has its eye on me,
Jabez -- anybody in public life has that
difficulty -- even you, Jabez. They watch us
carefully, our neighbors and our enemies, and
they see much more than we think they do -- and
understand much more. My friends all like to
think that I've got the good of mankind always
at heart, and I've got to make sure that those
I deal with have the good of mankind always at
heart, too. Do you know what I'm talking about,
Jabez?
JABEZ
What -- what's on your mind?
WEBSTER
You, Jabez Stone -- you and a lot of poor
farmers, hereabouts -- good men of the earth
who are in trouble because of you. Or -- am I
wrong about those contracts, Mr. Stone?
JABEZ
Contracts? -- Yes, they have contracts with me
-- lots of 'em -- but -- but that's all right.
Without me and my money, they wouldn't have
anything.
WEBSTER
They'd have a good neighbor, Jabez -- and
that's worth much more than anything else --
much, much more!
Jabez laughs uproariously. Webster shakes his head with the wisdom of real
sadness in his eyes.
WEBSTER
I'm sorry you can't see that, I know you could
once -- you made a little speech once, that
I'll always remember and I know the others
do too -- They remember and they see how you
have changed. That's why they didn't want to
come tonight to you, Jabez -- you're as blind
as a Burma bat, with your gold pot! Mind you,
it's not the money, I've been talking about,
it's what you make of it.
JABEZ
I -- I don't know what you're talking about! I
-- I haven't time to listen to all this --
WEBSTER
(still shaking his head)
No -- you haven't time -- You haven't time
for your mother, or your wife, or your child.
JABEZ
(turning on Mary)
It's your fault! You brought Daniel Webster
here -- just to try to make a fool of me! You
played the sneak behind my back -- made up all
sorts of lies against me! You can get yourself
out of my home -- go back to the other house
-- that old place, where you belong -- I don't
want to -- to talk to you again!
Over his shoulder, in the doorway to the reception room, the whirling dancers
pass and Belle, still dancing with Stevens, is seen for a moment.
WEBSTER
(calmly, gently, to Mary)
Come along, Mary --
Mary goes to him and they move to the door. Little Daniel, frightened by the
strange, motley dancers comes running out of the reception room into the
hall.
MARY
Daniel -- you come with me.
Mary takes his hand. Webster, Mary and Daniel go out of the house; down the
stairs and the doors close with a bang. Jabez turns and calls into the
reception room where amidst the other guests, Belle dances with Stevens.
JABEZ
Belle!
She doesn't listen -- the music is playing faster and louder.
JABEZ
(to a footman)
Close the windows and make a fire.
(as the footman leaves)
Belle!! Belle!
A VOICE
What is it?
Jabez turns around and sees Scratch standing in the doorway to the reception
room.
SCRATCH
Why, Mr. Stone, you look so worried. Can I be
of any service?
JABEZ
(facing Scratch)
You promised me prosperity, happiness, love,
money, friendship --
SCRATCH
(interrupting)
Just a minute, neighbor Stone. I promised you
money and all that money can buy. I don't
recall any other obligations. But let's look at
the contract.
He takes out a large black pocketbook, stuffed with paper. He flicks papers
over, reading the names:
SCRATCH
Sherwin, Slattery, Stevens, Stone --
But something has fluttered from his pocketbook -- a small white thing that
looks like a moth -- the soul of Miser Stevens. It flutters toward Jabez.
Jabez catches it in his hand and closing his fingers, holds it tightly. A
thin small voice is heard -- the soul of Miser Stevens, speaking from Jabez's
hand.
SOUL OF STEVENS
Neighbor! Neighbor Stone! Help me!
JABEZ
(astounded)
That's Miser Stevens' voice! -- Miser Stevens --
SCRATCH
(smiling)
.... Miser Stevens' soul, Mr. Stone. Yes -- I
am sorry for the disturbance.
JABEZ
He ain't dead -- he's dancing in there.
SCRATCH
He was --
He steps near and drapes a big bandana handkerchief over Jabez's hand and
transfers the soul to the handkerchief, and starts tying the ends together.
Jabez looks into the reception room. It's empty, except for the dead body of
Stevens lying on the floor.
SCRATCH
In the midst of life -- one really hates to
close these long standing accounts. But
business is business.
Jabez's eyes fix on the bandana.
JABEZ
(hoarsely)
Are they all as -- small -- as that?
SCRATCH
Small? Oh, I see what you mean. Why, they vary.
(looking at Jabez)
Now a man like Daniel Webster, if I ever get
hold of him, I'd have to build a special box
for him and even at that, I imagine, the wing
spread would be astonishing.
(looking again at Jabez)
In your case --
JABEZ
My time isn't up yet.
And, as he turns around, the scene changes quickly, to the STONE FARM at the
blasted tree that bears the date of Jabez's doom. Jabez is hacking blindly at
the tree trunk with an ax. He is making little headway. Mr. Scratch is
standing beside him.
SCRATCH
Trying to break our contract again, Mr. Stone?
JABEZ
(furiously hacking away)
I'm through with you.
SCRATCH
What a headstrong fellow! Well -- I guess
you're quite prepared to suffer the
consequences.
JABEZ
I have still a year -- a year to make up for
everything.
SCRATCH
Oh no, you violated clause five of our contract
and I could collect right now, if I chose.
JABEZ
(desperately)
Not now! Not now! -- Let me make up -- let me
make up.
SCRATCH
Suddenly you seem quite desperate, Mr. Stone --
(a pause)
-- You know I'm a good-natured man. I'm always
open to reason. With a little security -- I
might--
JABEZ
Anything -- anything. -- You can have it all
back -- that money -- the new house -- my farm
-- the whole caboodle!
SCRATCH
I'm afraid that's hardly the sort of security I
was thinking of --
(after a pause)
You see -- there is that promising little
fellow, your son ...
JABEZ
(violently)
No! No! No! Not him -- not my son -- I'd rather
go with you -- right now.
SCRATCH
Come, come, Mr. Stone, you are a little upset.
It's not fair to bargain with you now. -- I'll
give you until midnight, Mr. Stone, but not one
minute more. Ah, then you'll come with me
indeed.
And Scratch disappears. Jabez turns and runs from the tree, off into the
night, in the direction of the old farmhouse.
The EXTERIOR OF THE OLD FARMHOUSE: The place is dark, forlorn-looking, almost
desolate in contrast to the false gaiety of the mansion. We follow Jabez as
he comes running from the tree, along the path to the house. He bursts into
the kitchen door.
Now we see Jabez INSIDE THE FARMHOUSE as he runs upstairs into the bedroom,
calling frantically.
JABEZ
Daniel! ... Daniel! Mary!
He looks frantically about; he calls again and runs downstairs, as the scene
moves with him into the kitchen. It, too, is empty and dark. He calls once
more:
JABEZ
Mary! ... Daniel!
The scene moves with him as he runs outside. Jabez then comes running out,
more wildly than ever; this time in the direction of the barn.
In the OLD BARN, where Jabez first met Mr. Scratch. Jabez comes running in.
He pauses, panting; he looks about him, helplessly, hopelessly.
JABEZ
(desperate)
Mary ... Daniel...
No answer. Suddenly he sinks down on an old barrel and buries his head in his
hands, groaning in mortal agony. Ma Stone enters from the rear door. She
carries a smudged lantern.
MA STONE
My son ... what's the matter?
JABEZ
(looking up)
Ma! ...
(jumping up and going to her)
Where's Mary ... and little Dan'l?
MA STONE
Gone with Daniel Webster -- to Marshfield,
son.... You told Mary to go--
She stops, not wishing to add to his pain, but looks at his twisted face with
great understanding and compassion. Jabez turns to one of the stalls and
brings out a horse. Ma Stone holding up the lantern, he leaps on the horse
and rides off.
Now there are views of: A STRETCH OF ROAD IN THE DIRECTION OF MARSHFIELD as
Webster, with Mary and Daniel beside him on the front seat of the carriage,
is driving on toward Marshfield.
ANOTHER PART OF THE ROAD, farther back, with Jabez riding on -- his horse
galloping. Finally we see ANOTHER SECTION OF THE SAME ROAD as Jabez catches
up to Webster's carriage. Mary sits beside Webster, holding the boy in her
lap.
JABEZ
Mr. Webster ... Wait! ...
(as Webster slows down,
and Jabez rides up)
Mary!
MARY
(turning on front seat;
with a glad cry)
Jabez!
JABEZ
Mary! Come back ...
MARY
(happily to Jabez)
Oh, Jabez! ...
(to Webster)
Did you hear, Mr. Webster? -- Now you'll help
him, won't you?
WEBSTER
I'll fight ten thousand devils to save a New
Hampshire man.
Webster turns the horses about and starts back.
The scene dissolves to the EXTERIOR AND THE INTERIOR OF JABEZ'S OLD BARN, a
Short time later: Jabez and Webster, making their way through a crowd of
farmers, enter the barn. Throughout the barn is thick darkness, pierced only
by the uncertain light from a farm lantern. The corners, loft and stalls are
pools of night.
WEBSTER
It's here you said that you closed the deal
with him?
JABEZ
Yes, Mr. Webster -- it was here where it all
began.
WEBSTER
I see. And this is where he'd like to collect,
too.
JABEZ
Yes -- at midnight.
MARY
(coming in through the front door)
Jabez ...
WEBSTER
(coming over to Mary,
stopping her at the door)
Mary -- what love and trust could do for your
husband, you've done. And frankly, in a very
few moments, this is going to be no place for a
lady.
MARY
Mr. Webster -- you will help him?
WEBSTER
I'll do my best, Mary.
JABEZ
You must go now, Mary -- you must!
MARY
All right, Jabez ...
She turns and exits quickly.
WEBSTER
They make plucky women in New England.
(he consults his watch,
holding it near the lantern)
H'm ... how long have we to wait?
JABEZ
(trying to control himself;
looking at his watch)
Not long -- now.
WEBSTER
(going over to feed-bin where
a dusty jug reposes in the hay)
Then I'll just christen the jug, with your
permission, Stone. Somehow or other, waiting's
wonderfully shorter with a jug.
He takes the jug over to a plank laid between two saw-horses and pours
himself a drink into one of the cups Mary brought. He tastes it.
WEBSTER
H'm -- old Medford.
He smacks his lips; sits down on a barreltop. There are a few other barrels
placed about the crude table.
WEBSTER
There's nothing like it. I saw an inchworm take
a drop of it once, and he stood right up on his
hind legs and bit a bee. Come -- try a nip!
JABEZ
There's no joy in it for me.
WEBSTER
Oh, come, man, come. Just because you've sold
your soul to the devil that needn't make you a
teetotaler.
He takes another swig of Medford. There is a knock at the rear door; a subtle
kind of knock that is different from anything else of its kind.
WEBSTER
Come in.
Scratch enters. He carries his collecting-box under his arm.
SCRATCH
(suavely)
Mr. Webster, I presume?
WEBSTER
Attorney of record for Jabez Stone. Might I
ask your name?
SCRATCH
Scratch will do for the evening. May I -- join
you?
He slides easily onto a barrel-top by the makeshift table and pours a drink
from the jug then lifts his cup and toasts Jabez and Webster silently. He
drinks deeply.
WEBSTER
Why, certainly -- but be careful, Mr. Scratch
-- Medford rum has an uncanny habit of kicking
back, even with old-timers like yourself.
(he sips his Medford)
SCRATCH
(with a soft chuckle)
It even kicked back -- once at you, didn't it?
WEBSTER
(professing indignant surprise)
Me?
SCRATCH
Oh .. not that you ever get drunk! No, indeed!
But a kind of overpowering lassitude or, more
plainly, a deep and enveloping sleep.
WEBSTER
There isn't enough Medford rum in the whole of
New Hampshire to make me sleepy.
(he deliberately drinks again)
SCRATCH
Talk has never proved that question, Mr.
Webster!
(he drains his cup)
Cup for cup -- what do you say?
WEBSTER
(immediately)
Cup for cup!
They pour and drink and smack their lips at each other.
SCRATCH
Well now, Mr. Stone, did you make up your mind?
JABEZ
About what?
SCRATCH
Are you willing to give me your son in exchange
for an extension of our contract?
JABEZ
Never!
The STONE FARMHOUSE KITCHEN where Ma Stone is busy making a pie. Mary stands
by the window. She turns from it as little Daniel comes running downstairs in
his nightgown and bare feet.
DANIEL
Mama!
MARY
Daniel! ... You must go to sleep.
DANIEL
(throwing his arms around her)
I don't want to be up there all alone, Mama....
I want to be with you.
MARY
All right, darling.
Voices are heard outside, and there is a quick rap at the window.
MA STONE
(to Mary)
You see who it is. I have to get my pie in the
oven.
Mary opens the door. There are Tom Sharp and a few farmers outside.
TOM SHARP
Jabez's new house is a-burning down!
MA STONE
(calling from the stove)
Well, you just let it alone ... the consarn
thing oughter burn!
She closes the window on their astonished faces, and turns to Mary with her
head tossing and her lips pursed.
The BARN, with Webster and Scratch still drinking. With a chuckle, Scratch
rises, perfectly steady on his nimble legs. Webster sits at the table, a
trifle slumped.
SCRATCH
Your spirited efforts on behalf of your clients
do you credit, Mr. Webster -- If you have no
more arguments to adduce I'll take him along
now.
WEBSTER
Not so fast, Mr. Scratch. Produce your evidence
-- if you have it.
SCRATCH
(taking out the pocketbook)
There, Mr. Webster.
(passing it to him)
All open and above-board and in due and legal
form.
WEBSTER
(looking over the deed)
H'm. This appears -- I say appears -- to be
properly drawn. But you shall not have this
man! A man isn't property! Mr. Stone is an
American citizen, and no American citizen may
be forced into the service of a foreign prince.
SCRATCH
Foreign? And who calls me a foreigner?
WEBSTER
Well, I never heard the dev-- of your claiming
American citizenship.
SCRATCH
And who with better right? When the first wrong
was done to the first Indian, I was there. When
the first slaver put out for the Congo, I stood
on the deck. Am I not spoken of, still, in
every church in New England? 'Tis true, the
North claims me for a Southerner, and the South
for a Northerner, but I am neither. To tell the
truth, Mr. Webster, though I don't like to
boast of it, my name is older in the country
than yours.
WEBSTER
Then I stand on the Constitution! I demand a
trial for my client.
SCRATCH
You mean -- a jury trial?
WEBSTER
I do! If I can't win this case with a jury, you
shall have me, too. If two New Hampshire men
aren't a match for the devil, we'd better give
this country back to the Indians.
SCRATCH
(smiling)
Very well. -- You shall have your trial, Mr.
Webster. The case is hardly one for an ordinary
jury --
WEBSTER
Let it be the quick or the dead -- So it is an
American judge and an American jury!
SCRATCH
The quick or the dead! You have said it.
(he raises the cup again to Webster)
May -- the best man win, Mr. Webster!
WEBSTER
I'll drink to that, Mr. Scratch!
Webster raises his glass also. Both drink deeply, Scratch watching Webster
closely, to see the effect. Then Scratch goes to a door in a dark corner of
the floor that opens into a cellar. He throws the door back and a black hole
yawns at his feet. A ruffian in pioneer dress, Captain Kidd, appears, others
follow.
SCRATCH
You must pardon the leathery toughness of one
or two ... Captain Kidd -- he killed a man for
gold; Simon Girty -- the renegade; he burned
men for gold; Governor Dale -- he broke men on
the wheel; Asa, the Black Monk -- he choked
them to death; Floyd Ireson and Stede Bonnet,
the fiendish butchers; Walter Butler -- the
King of the Massacre; Big and Little Harp --
robbers and murderers; Teach, the Cutthroat;
Morton, the vicious lawyer ... and ... General
Benedict Arnold -- you remember him, no doubt.
Dastard, liar, traitor, knave -- Americans
all ...
They now go toward the stalls that in a crude way resemble a jury box.
Now in the KITCHEN OF STONE'S OLD FARMHOUSE, Ma Stone sits by the fire,
reading from the big family Bible, Mary at her side. It is still night.
MA STONE
(reading from Psalm 102)
"Hide not thy face from me in the day when I am
in trouble; incline thine ear unto me; in the
day when I call answer me speedily. For my days
are consumed like smoke, and my bones are burned
as an hearth. My heart is smitten, and withered
like grass; so that I forget to eat my bread.
But thou, O Lord, shalt endure forever; and thy
remembrance unto all generations."
Then, back in the OLD BARN, we see that the jury has filled up the stalls
that serve as a jury box. They sit silently in shadow, real and yet at the
same time, unreal. Justice Hawthorne, a tall, lean, terrifying Puritan
appears.
CLERK
(in a gabble)
Oyes, oyes, oyes! This trial tream of the
Midnight Court of the State of New Hampshire in
the County of Franklin, is now in session.
Justice Hawthorne presiding. Oyes, oyes, oyes!
The Devil versus Jabez Stone!
HAWTHORNE
Who appears for the plaintiff?
SCRATCH
I, Your Honor.
HAWTHORNE
And for the defendant?
WEBSTER
I.
HAWTHORNE
Are you content with the jury, Mr. Webster?
WEBSTER
I object to General Benedict Arnold, Your
Honor, for being a flagrant traitor to the
great American cause....
HAWTHORNE
(cutting it short)
Objection denied! The prosecution will proceed.
SCRATCH
(stepping out briskly)
Your Honor -- gentlemen of the jury -- this
case need not detain us long. It concerns one
thing alone -- the transference, barter and
sale of a certain piece of property, to wit,
his soul by Jabez Stone. That transference,
barter or sale is attested by a deed. I offer
that deed in evidence and mark it Exhibit A.
WEBSTER
I object.
HAWTHORNE
Objection denied. Mark it Exhibit A.
Scratch hands the deed to the clerk who hands it to Hawthorne.
SCRATCH
I shall now call Jabez Stone to the witness
stand.
CLERK
Jabez Stone to the witness stand!
Webster gives Jabez an encouraging pat on the hack, and Jabez takes his place
in the witness stand, which is an empty corn-crib. He looks scared. The eyes
of the jury fasten upon him.
SCRATCH
Jabez Stone -- did you or did you not sign this
document?
JABEZ
(sweating)
Yes, I did -- but you tricked me into signing
it! You told me my soul was nothing ... that I
could forget all about a soul, in exchange for
money. That was a lie, a lie, a lie.
SCRATCH
(only smiling)
That is highly irrelevant to this case, Your
Honor.
HAWTHORNE
(nodding sagely)
Leave out the soul. Proceed.
SCRATCH
I would like to ask Mr. Stone whether or not I
faithfully fulfilled my part of the contract?
Didn't I give you seven years of good luck and
prosperity? Didn't I make you the richest man
in the country?
JABEZ
Yes -- yes, I am the richest man -- too rich. I
can't think of anything but money. That's the
trouble with me.
SCRATCH
(smiling)
But, Mr. Stone, I am hardly to blame for the
pricking of your wholly unnecessary conscience.
(he holds out deed)
Is this your signature?
JABEZ
(almost shouting)
You know darn well it is.
SCRATCH
(turning to the jury)
Gentlemen, the prosecution rests.
HAWTHORNE
Does the jury wish to consider the case?
They do not speak.
HAWTHORNE
It appears they do not. Take your man, Mr.
Scratch.
Scratch moves toward Jabez who shrinks back. The jury sits motionless.
WEBSTER
I protest, Your Honor! I wish to cross-examine
-- to prove --
HAWTHORNE
There will be no cross-examination in this
court!
SCRATCH
Your Honor, you will lose a great experience if
you do not let him speak. There is only one
Daniel Webster.
HAWTHORNE
(to Webster)
You may speak, if you like, but be brief.
(as Webster steps forward)
And let me warn you, Mr. Webster -- if you
speak and fail to convince us, then you, too --
(pointing his finger)
-- are doomed!
There now appears a close view of Daniel Webster. His face shows his struggle
to concentrate.
VOICES OF JURY
Drag him down with us -- Drag him down with
us.
JABEZ'S VOICE
Save yourself, Mr. Webster -- Don't speak!
SCRATCH'S VOICE
(ironically)
"There isn't enough Medford rum in the whole of
New Hampshire to make me sleepy."
VOICES OF JURY
Lost and gone -- lost and gone --
A bell stroke and music.
WEBSTER
(his voice mounting over it all)
Be still!
The timbre of his mighty voice stops the murmur, and the music and bell
strokes recede. A breathless silence ensues. He is facing the jury, his eyes
like anthracite, seeming to burn through the murk.
WEBSTER
Gentlemen of the jury -- It is my privilege to
be addressing tonight a group of men I've long
been acquainted with in song and story, but men
I had never hoped to see.
He pauses. They stare back at him, eyes fixed, and Benedict Arnold starts to
raise his head.
WEBSTER
My worthy opponent, Mr. Scratch, has called you
Americans all, and Mr. Scratch was right -- you
were Americans all! Oh, what a heritage you
were born to share! Gentlemen of the jury, I
envy you! For you were there at the birth of a
mighty Union. It was given to you to hear those
first cries of pain -- and to behold the
shining babe that was born of blood and tears.
Tonight, you are called upon to judge a man
named Jabez Stone. What is his case? He is
accused of breach of contract -- He made a
deal to find a short cut in his life -- to get
rich quickly.... The same deal all of you once
made.
(a pause)
You, Benedict Arnold! ... I speak to you first,
because you're better known than all your other
colleagues here. What a different song yours
could have been! A friend of Washington and
LaFayette -- a soldier -- General Arnold, you
fought so gallantly for the American cause,
till -- What was the date? Oh, yes -- in 1779,
a date burned in your heart.
Arnold bows his head again.
WEBSTER
The lure of gold made you betray that cause.
Another pause as his words sink in; then he whirls about and points at Simon
Girty.
WEBSTER
You, Simon Girty, now known to all as Renegade!
A loathsome word -- you also took that other
way.
(steps along the jury box)
You, Walter Butler -- What would you give to
have another chance to let the grasses grow in
Cherry Valley without the stain of blood? --
You, Captain Kidd, and you, Governor Dale -- I
could go on and name you all, but there's no
need of that. Why stir the wounds? I know they
pain enough.
(his voice rises)
All of you were fooled like Jabez Stone --
fooled and trapped in your desire to rebel
against your fate. Gentlemen of the jury --
it's the eternal right of man to raise his fist
against his fate, but every time he does he
stands at crossroads. You took the wrong turn
and so did Jabez Stone. But he found out in
time. He is here tonight to save his soul.
Gentlemen of the jury, I ask that you give
Jabez Stone another chance to walk upon the
earth, among -- the trees, the growing corn,
the smell of grass in spring -- What would you
give for one more chance to see those things
that you must all remember and often long to
feel again? For you were all men once. Clean
American air was in your lungs -- you breathed
it deep, for it was free and blew across an
earth you loved. These are common things I
speak of, small things, but they are good
things. Yet without your soul they are nothing.
Without your soul they sicken. Mr. Scratch told
you that your soul is nothing and you believed
him. It has cost you your freedom. Freedom is
not just a big word -- it is the bread and the
morning and the risen sun. It was for freedom
we came in boats and ships to these shores. It
has been a long journey, a hard one, a bitter
one. There is sadness in being a man, but it is
a proud thing, too. Out of the suffering and
the starvation, the wrong and the right, a new
thing has come, a free man. When the whips of
the oppressors are broken, and their names
forgotten and destroyed, free men will be
walking and talking under a free star. Yes, we
have planted freedom here in this earth like
wheat. We have said to the sky above us, "A man
shall own his own soul." Now -- here is this
man -- He is your brother! You are Americans
all, you cannot--
(pointing at the devil)
-- take his side -- the side of the oppressor.
Let Jabez Stone keep his soul -- this soul
which doesn't belong to him alone, which
belongs to his son -- his family -- his
country. Gentlemen of the jury -- don't let
this country go to the devil! Free Jabez
Stone! God save the United States and the men
who have made her free!
A long pause. The jury does not stir. Webster steps back, goes to the table
and sits down, quietly. The pause holds for a moment longer, and then
Hawthorne speaks:
HAWTHORNE
The jury will consider its verdict.
He hands the deed to the FOREMAN of the jury. They form a little circle and
put their heads together. Jabez looks at them, the sweat of his agony in
beads on his forehead. Scratch only smiles. Slowly the jury turns again and
the foreman tears up the deed.
HAWTHORNE
The jury finds for the defendant.
A long-drawn crow of a cock is heard.
SCRATCH
(wryly to Webster)
My congratulations -- as between two gentlemen.
WEBSTER
(catching Scratch by the collar)
Why, you long-barreled, slab-sided, lantern-
jawed, note-shaving crook, be off with you ...
He runs Scratch to the door and kicks him out.
The YARD OUTSIDE OF THE BARN: Morning light is shining. Scratch is tearing
out of the barn. He turns and calls back:
SCRATCH
You'll never be president -- I'll see to that!
He practically thumbs his nose. But the farmers rush in and chase Scratch out
through the gate. He runs wildly down the road.
IMMEDIATELY OUTSIDE THE BARN DOOR: Mary is just flinging her arms around
Jabez.
MARY
Jabez -- Jabez!
JABEZ
Mary!
WEBSTER
You were worried, Jabez, weren't you?
JABEZ
Well, I --
WEBSTER
I know -- that was mighty queer Medford -- knew
it the minute I tasted it. But it takes more
than that to down Daniel Webster.
MARY
(turning to him and
clasping his hands)
You've done it, Mr. Webster -- God bless you!
And as they stand together, Jabez runs toward the house.
OUTSIDE THE KITCHEN, Ma Stone is busy setting the breakfast table that is
under an apple tree in the yard. Jabez comes running to her gleefully, like a
boy let loose from school.
JABEZ
Ma -- Ma -- it's all right, Ma!
MA STONE
(still busy with her table,
in matter-of-fact tone)
Of course it's all right, son. You had Daniel
Webster, didn't ye?
(calling out loudly)
Breakfast's ready!
(to Jabez)
I've made a special surprise for Mr. Webster.
The EXTERIOR OF JABEZ STONE'S FARM, near the old barn. Webster, with the jug
of Medford rum under his arm, is surrounded by the farmers including Tom
Sharp, and Eli Higgins. They are giving three cheers for Webster.
TOM SHARP
Hurrah for Black Dan'l!
WEBSTER
Don't make so much of a trifle, my friends!
JABEZ
(joining the group)
Ma says breakfast's ready, Mr. Webster!
WEBSTER
Breakfast ... Ah! ... Come along friends, Ma
Stone's a cook this side of heaven.
He hooks his arm into Jabez's and they go up toward the house. Tom Sharp
walks next to Jabez.
OUTSIDE THE KITCHEN as they all sit down. Webster is at the head of the
table, the jug of Medford beside his chair. Jabez sits next to Mary, and next
to Mary sits little Daniel.
TOM SHARP
Jabez -- will you join our Grange now?
JABEZ
Why, thank you, Tom. I was going to ask you if
you thought I could.
TOM SHARP
We'll be mighty glad to have you with us.
WEBSTER
There is nothing like a good old country
breakfast. Where's Ma?
MARY
She'll be here in a moment. She has a special
surprise for you.
Ma Stone brings out a huge covered dish from the kitchen and sets it before
Webster with pride.
WEBSTER
(sniffing it)
Peach pie!
Ma smiles, but doesn't answer. Webster lifts the cover and finds an empty
dish. Everybody is dumbfounded.
MA STONE
What the D-- ?
And on CROSS ROADS we see Scratch, in his buggy, holding a big peach pie in
his hands and munching it lustily as the scene fades out.
Screenplay by Dan Totheroh and Stephen Vincent Benet
BONUS ITEM: Transcript of Webster's speech (from the finished film)DANIEL WEBSTER (Edward Arnold): Gentlemen of the jury, tonight it is my privilege to address a group of men I've long been acquainted with in song and story, but men I had never hoped to see. My worthy opponent, Mister Scratch, called you Americans all. Mister Scratch is right. You were Americans all. Oh, what a heritage you were born to share. Gentlemen of the jury, I envy you, for you were present at the birth of a mighty union. It was given to you to hear those first cries of pain and behold the shining babe, born of blood and tears. You are called upon tonight to judge a man named Jabez Stone. What is his case? He's accused of breach of contract. He made a deal to find a shortcut in his life, to get rich quickly, the same kind of a deal all of you once made.
You, Benedict Arnold. I speak to you first because you are better known than the rest of your colleagues here. What a different song yours could have been. A friend of Washington and Lafayette, a soldier. General Arnold, you fought so gallantly for the American cause till -- let me see, what was the date? -- seventeen seventy-nine. That date, burned in your heart. The lure of gold made you betray that cause. And you, Simon Girty, now known to all as "Renegade" -- a loathesome word -- you also took that other way. And you, Walter Butler, what would you give for another chance to see the grasses grow in Cherry Valley without the stain of blood? I could go on and on and name you all but there's no need of that. Why stir the wounds? I know they pain enough. You were fooled like Jabez Stone, fooled and trapped in your desire to rebel against your fate.
Gentlemen of the jury, it is the eternal right of every man to raise his fist against his fate. But when he does, these are crossroads. You took the wrong turn. So did Jabez Stone. But he found it out in time. He's here tonight to save his soul. Gentlemen of the jury, I ask you to give Jabez Stone another chance to walk upon this earth, among the trees, the growing corn, and the smell of grasses in the Spring. What would you all give for another chance to see those things you must all remember and often yearn to touch again? For you were all men once. Clean American air was in your lungs and you breathed it deeply. For it was free and blew across an earth you loved. These are common things I speak of, small things, but they are good things.
Yet without your soul, they mean nothing. Without your soul, they sicken. Mister Scratch once told you that your soul meant nothing. And you believed him. And you lost your freedom. Freedom isn't just a big word. It is the morning and the bread and the risen sun. It was for freedom we came to these shores in boats and ships. It was a long journey and a hard one and a bitter one. Yes, there is sadness in being a man... but it is a proud thing, too. And out of the suffering and the starvation and the wrong and the right, a new thing has come: a free man. And when the whips of the oppressors are broken and their names forgotten and destroyed, free men will be talking and walking under a free star. Yes, we have planted freedom in this earth like wheat. And we have said to the skies above us, "A man shall own his own soul..." Now, here is this man. He is your brother. You were Americans all. [points to the Devil] You can't be on his side, the side of the oppressor. Let Jabez Stone keep his soul, a soul which doesn't belong to him alone but to his family, his son, and his country.
Gentlemen of the jury, don't let this country go to the devil. Free Jabez Stone. God bless the United States and the men who made her free.