英语剧本《黑夜煞星》

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 Danie