ms pammas mama m ms TELEVESiCN ADAPTATION OF KATNERINE ANNE mama’s mmyma Thesis fur ea. mm a a}. MECHSGAN 5m?! ummsm' Gary Gumperi' W56 TIE PROBLEE‘T‘S IIWOLVED IN THE TELEVISION ADAPTATION OF KA {ERINE ANNE PORTER'S NOON WINS By Gary Qumpert A THESIS Submitted to the College of Communication Arts of Richigan State University of Agriculture and Applied Science in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Speech 1956 \cw’ A CKN O‘IJLJD GIVEN TS Sincere acknowledgment is made to Dr. Roger M. Busfield, chairman of the author's thesis committee, for his guid- ance in writing Egon Wine and in preparing this study. Invaluable assistance was also given by Dr. Erling Jorgensen and Dr. Max Nelson. - The author is indebted to Joan L. Pierce, who composed the musical theme for the play. \l_\I_V_\I_\L\L\ LLUO) L ‘n A n n n I\ I\ n n I\ l\ .V..."...‘ L‘L.‘ ‘LV_\€_\L I\I\I\I\l\ \I\I\I\ .‘L—‘L‘L‘LJ L.‘ L‘L n I\ A n n n n .V.V..V..v_v. I\ I‘ I\ l\ I\ .V._‘L_V. n I\ n * ii [I'I‘Illlll‘lllllll I II III. II] I ‘1' ill. . THE PROBLEMS INVOLVED IN THE TELEVISION ADAPTATION OF KATHERINE AI‘INTE POR‘ .JR'S NOON WINE By Gary Gumpert AN ABSTRACT Submitted to the College of Communication Arts of Michigan State University of Agriculture and Applied Science in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Speech Year 1956 Approved £744 734 . 3% 1A Majlr Professor ABSTRACT The problem of this study was to write a television adaptation of Katherine Anne Porter's short story "Noon Wine" and discuss the problems involved therein. Prior to writing the play, all the prose fiction of Katherine Anne Porter was surveyed and "Noon Wine" was chosen because of its dramatic potentiality. Criteria and limitations were also established for the dramatic television play and these criteria and limitations were applied throughout the process of writing the television adaptation. I The gradual increase of dramatic shows on television has resulted in a greater demand for scripts. This demand has not been satiated because the peculiar techniques of the television medium_have not been understood by the television playwright. Television writing does not differ from the dramatic technique of the various theatrical media; its differences are inherent in the demands and limitations of television itself. The selectivity, intimacy and subtlety of the television medium, together with the basic tim limitation, result in a drama based on moments of insight into the life of an individual. Television is unable to present broad and panoramic action drama. Once the criteria and limitations of the television medium are grasped by the playwright, the adaptation of the short story, especially those written by Katherine Anne Porter, can be considered as one solu- tion to the shortage of dramatic television scripts. iv lll'lllll‘lllllll'lll! If lllrllll.‘ The adaptation of the short stories by Katherine Anne Porter is possible because the intimacy of the television.medium can capture the intimacy of the short story. The conflict in Miss Porter's stories is also based upon the introspective clash of an individual's personality and not upon panoramic action. The tragic quality of Miss Porter's "Noon Wine" indicated that the television adaptation of this short story would result in an r‘rvrjathic response and identification between the viewer and the drama. With the criteria and limitations establishei for the dramatic television play, a story line was abstracted, a scenario was developed and the television adaptation written. It was found necessary to Show dramatically what Kiss Porter had said through her own narration, the character's thoughts and in dialogue and action. The dramatic technique arrived at was the concept of illustrative action. The causal relationship of the flashback technique gave the television play the required unity of action. The television adaptation of "Noon'Nine" cannot be considered successful until it has been produced, but this study seems to indi- cate that the short stories of Katherine Anne Porter are only a small part of a vast storehouse of material available which should be a definite source for the solving of television's script shortage. TABLE OF comm-ms CnAPTER Page I IIITRODUCTIOI‘I TO fifE IDE10BI:J(‘:{k O O O O O O O O O O O O O O O O O O O O O O O O O C O O O O O l Statemenhb Of PI‘OblcmO O O O C O C O O O O O I O O O O O O O O O O O O O O C O O O O O O O PLlrpose Of Study.00......OOOOCOOOOOOOOOOOOOO0......O... Procedure Of Stu(1;VOOOOOOOOOOOOOOOOO.IOCOOOOOOOOOOOOOOOO F-‘KJJI‘J II CRITERIA AND ILIMITATIONS OF THE TELEVISIOI‘I I'EDIUIVI. . . . . . . . . The Television Stage................................... Television Selectivity................................. Immediacy, Spontaneity and Intimacy.................... The Subtle Quality of Television....................... EfimmmmeamiEma.u.n.u.u.u.u.u.n.u.u.u.u Economy and Exposition................................. The Growth of Conflict................................. The "Out of Sight" Principle........................... Controlling Factors of Live Television................. The Budget and Identification.......................... 12 General Criteria....................................... H O\OCOO\O\\I'L \J'L I41414 (vi4i4 ["4 b0 III Trig}; .HIVAHSIS OF BImN’THEE.a...ooooooooooooooooooooooooOOoo 17 The Fiction of Katherine Anne Porter................... 17 Traditionalism versus Naturalism....................... 18 Tragedy and Katherine Anne Porter...................... 21 The Story of "Noon Wine"............................... 23 The Intimacy of "Noon Wine"............................ 2h Characterization and Adaptation........................ 26 The Theme of "Noon Wine"............................... 27 The Analysis of Royal Earle Thompson................... 27 Hatch: The Personification of Evil.................... 30 The Tragedy of Royal Earle Thompson.................... 31 The Analysis of Olaf Helton............................ 32 The Analysis of Mrs. Thompson.......................... 3h IV SCE‘JZEILRIO FOR II‘mI‘I I.¢;IT“TKIOOOOOCOO000......OOOOOOOOOOOOOOOOOOO 36 ACt IQOOQOOOOOOOOOOO0000000000.00000000.o.0000000000000 36 ACt IIoooooooooooooooooo00000000cocoooooooooooooooooooo ho ACt III-000000000000000000000000000.0.0000000000000000. hé vi TABLE OF CONTENTS - Continued CHAPTER v }TOI:JT‘I E‘ITII'EOOOOOOOOOO00.0.0.0...OOOOOOOOOOOOOOOOO0.0.00.0... Act IOOCOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOCOOOOOOOOOOOOO Act II.OOOOOOOOOOOOOCOOOOOOOO...0.000000000000000000000 AC-t’ IIIOOOOOOOOOOOOOOOOCOOOOCOOOOOOOOOOOIOOOOOOOOOOOOO. VI THE PROBLELS 11." V OLVED IN TJRITING THE ADAPTATION. . . . . . . . . . . AP'hJ—thi-level Fla/{000.000.000.0000000000000000000000000 Time and Condensation.................................. file maShbaCk TEChnj-que...IO...OOOOOOOOOOOOOOOOOOOOOOOO tmctweoOOOOOOOOOOOOOOOOOCO...IOOOOOOOOOOOIOOOOOOOOOO The Scenario and Play.................................. The Growth of Conflict................................. The Translation of Fiction............................. The Intimacy of Noon'Tine.............................. Identification......................................... myiLEwbeDmmmmL.n.u.u.u.u.u.u.n.u.u.”. Ellie Thompson......................................... Olaf Eric Helton....................................... Homer T. Hatch......................................... Lat’ty.er BLlrlCi-QIOOOOIOOOOOOOOOOOOOOOOOOOOOOOOOOOOO0.0... VII SUTHTAH AND COF‘ICLUSIOTJTSOQOOQ000.000000000000000000.0000... Sujnrnar‘y-o000.000.000000000000000...0.0000000000000000... conCluSiOnSOOOOO...00......OOOOOOOOOOOOOOOOOOOOOOOOI... BIBLIOGRAPI‘IY...COCOOOOOOOOOOOOOOOOO00.0.0.0...OOOOOOOOOOOOOOOOOOO APPF‘EIDHIOOOOO0.00...O...0.00000COOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO 13.0011. L‘Ifihn I1"}181‘11‘330000OOOOOOOOOOOOOOOOOOOOOO O 0 vi a, 111 111 112 112 115; .115 117 11-3 119 119 119 120 120 120 120 121 121 121 127 130 JTAPTI R I NTRODUCTION TO THE PROBLEM Marian Gallaway defines playwriting "as the art of transferring feelings about a human.situaticn from the mind of a playwright to the I ‘ 0 . "l mind of an assembled audience. The process of transference of a writer's idea from its initial conception to its ultimate execution goes beyond the mere writing function and incorporates the abilities of a large number of people. It is, at this point, that the director of producer serves his greatest function, acting as the unifying agent between disunited parts, giving them coherence and continuity. As Sidney Lumet says: This is our {director's} function. we take the actor's abilities, we take the producer's desire; we take the writer's intention; we take the crew supervisor's knowledge; we take the cameraman's imagination; and we d them all into something which points to the same objective. The starting point is naturally the playwright, but the success of a production is largely dependent upon the execution of the play- wright's concept. To minimize the difficulties between conception and execution the director-producer should first understand the playwriting lMarian Gallaway, Constructing a Play (New York: Prentice—Hall Inc., 1950), p. xiii. 2 Sidney Lumet, "Creating a Point of View," How to Direct for Television, ed. by William I. Kaufman (New York: Hastings House Publishers, 1955),p. 27. ' process. This study is an attempt to provide a partial understanding of one phase of that process, the adaptation of fiction to the tele- vision medium. Statement of Problem A gradual increase in the number of dramatic shows on television . . 3 . has resulted in a greater demand for scripts. The fact that script editors find it hard to discover more than one usable script in every three hundred or so submitted emphasizes the problem of a script I shortage. What is the reason for this lack of quality television scripts? Perhaps playwrights are not familiar with the unique requirements of this new medium. The television writer must know and understand the scope and limitations of the medium. Robert S. Green says: For the writer in television, it is not enough to provide a good story. The script must be written with the full knowl- edge of the limitations of television and must take into full consideration every technical device in television production by which dramatic and comedic elements are enhanced. The writer must keep in the front of his mind not only the limi- tations of the medium but also its possibilities. He must be aware of the mobility factors and limitations of actors, cam- eras, and sets, and his script must tie these elements together in a workable television play. 3S. P. Shanlei, "Scripts, Limited," New York Times (New York: January 15, 1956), p. 11. I Eugene Burr, "writing on Air," How to write for Television, ed. by William I. Kaufman (New York: Hastings House Publishers, 1935), p. 31. Robert S. Green, Television writing (New York: Iarper & Brothers, 1952), p. vii. The adaptation of prose fiction is a possible solution for the shortage of dramatic television material. Plays for television and adaptations from other literary forms have been written, but the tele- vision industry is continually concerned with finding material which takes into consideration the scope and limitations of the medium. Purpose of Study The purpose of this study is to consider the criteria and limi- tations of the dramatic television play and with these factors in mind adapt one of Katherine anne Porter's short stories for television. The problems involved in writing the adaptation will then be analyzed. The term adaptation implies that the purpose of the playwright may supersede that of the author. Although a story usually does not lend itself to literal transference, an adaptation is somewhat faithful to the original material, but the playwright may take greater liberties with plot, character, and theme in terms of dramatic feasibility.6 The choice of Katherine Anne Porter's "Noon Wine" was because of its dramatic potentiality. All of Miss Porter's works, however, were considered. There has been only one study made on the fiction of Katherine Anne Porter. Edward Schwartz's The Fiction of Katherine Anne 7 . Porter is an over-all analySis but does not concentrate on all of 6 o 1- c o o v ‘ Roger M. Busfielo, Dramatizatipn and Adaptation (An unpublisned paper, Michigan State University, April 1, 1956), pp. 3—h. 7 Edward Schwartz, The Fiction of Katherine Anne Porter Doctoral Dissertation, Syracuse University, 1953). Miss Porter's short stories. Schwartz also published A Critical Q 0 U n V 0 Bibliography on Katherine Anne Porter, which proved very valuable in finding critical evaluations of Miss Porter's work. The first television adaptation of a Porter work, Pale Horse, Pale Rider, was produced March 22, 1956, by the Columbia Broadcasting System. The adaptation was critically successful. John Crosby said: Niss Porter's dialogue has the constant joy of the un— expected. The flavor of the period reminded me strongly of "Farewell to Arms," though in a very minor and rather feminine key. What interested me is that this fragile story could still be so fresh and appealing and so singularlyofree of any trace of the maudlin on contemporary television.” Procedure of Study The procedure of this study will be to first analyze the limitations and criteria for the dramatic television play. With the limitations and criteria established, the next step will be the analysis of "Noon Wine." A story line will be abstracted from the original story and from this a scenario will be developed. The scenario will be the basis for the television adaptation, correlating the criteria and limitations of dramatic television with the analysis of "Noon Nine." The adaptation for television of "Noon Wine" will then be presented and the problems of the play will be discussed. 8Edward Schwartz, Katherine Anne Porter, A Critical Bibliography '(New York: The New York Public Library, 1953). 9 John Crosby, "Television and Radio," The State Journal (Lansing, Michigan, April 1, 1956), p. 31. CHAPTER II CRITERIA AND LIMITATIONS OF dB TB EVISION MEDIUM There has been a great deal of comparison made between the various theatrical media and television. There are basic differences, however, which make writing for television a distinct technique. Television writing does not differ in dramatic technique but in the demands and O O C N '10 V 1 O _ a V limitations of tne medium itself. It is thereiore necessary tnat the scope and limitations of the television medium be considered when analyzing material for television. The Television Stage The playwright, in writing for the stage, is conditioned to think in terms of the entire stage and in terms of permanent scenes.2 Except for arena staging, the theatre still relies largely upon the proscenium arch or the framed picture type of staging. It would be a mistake to compare proscenium arch staging with television staging because of the resemblance to the rectangular frame of the television picture to the proscenium arch. Television has been even.mistakenly called a little theatre in the home.3 1Margaret R. weiss, The TV writer's Guide (New York: Pellegrini & Cudahy, 1952), p. 13. 2 . . Eugene Burr, "driting on Air," Now to write for Television, ed. by dilliam I. Kaufman (New York: Hastings House Publishers, 1935), p. 28. 3'l'Jorthington Miner, "Producing for Television," Producing the Play, ed. by John Gassner (New York: The Dryden Press, 1953), p. L89. 5 The stage in the television studio is different from the theatre stage. The television stage takes the form of a cone. Rudy Bretz describes the television stage in the following way: It is a long, cone-shaped area, wide at the back and tapering to a point at the camera lens. If a director con- ceives of this area as his stage, he will stage action in depth, making his important entrances and exits either near the camera or at the far back. He will also remember that every time he cuts to another camera he is creating a new stage.' Television Selectivity "Television drama is conceived in terms of what the camera can 5 see, since television is essentially a photographic medium." Because a new stage is created every time the director cuts from one camera to another, the writer can achieve the selectivity which so differentiates television writing from the other forms of playwriting. The writer does not sit with pen and paper, but with pen, paper and camera. 'The playwright writing for the legitimate stage must also visualize what he is writing, but he does not create a new stage every time there is a change of action or emphasis. Immediacy, Spontaneity and Intimacy One authority on the television medium has said, "Television's uniqueness is based on immediacy, spontaneity, and intimacy." Rudy Bretz, Techniques of Television Production (New York: McGraw- Hill Book Company, 1953), p. 29. 5Edward Stasheff and Rudy Bretz, The Television Program (New York: A. A. wyn, Inc., 1951), p. 21. ézkéfir: p. 22. Spontaneity implies a type of naturalness and this quality is closely related to the quality of immediacy. Edward Stasheff says that the immediacy of television is its ability to "transport the audience to the site of events taking place at the same moment."7 Edward Barry Roberts defines immediacy as "intensity." Roberts says that the characteristic of television is "immediacy of impact, intensity of impact on the viewer."3 Roberts further states that the "fourth wall" of the stage has been eliminated in television. By the term "fourth wall" is meant "the imaginary side of the room toward the audience which has theoretically been removed so that the spectators may look in."9 It should be mentioned that the "fourth wall" has also been eliminated in arena theatre. There has been some controversy over the term "immediacy" in re- lation to live television drama. There are some people who feel that a live television drama carries with it the feeling of "live theatre" or "first night" excitement, but there are others who feel that the television audience should "lose themselves completely in the illusion of the story."10 7 Ibido, p. 250 8Edward Barry Roberts, Television writing and Selling (Boston: The writer, Inc., 195k), p. 2. Alexander Dean, Fundamentals of Play Directing (New York: Rinehart & Company, Inc., 19H2), p. 396. lO Stasheff & Bretz, pp. 223., p. 22. Television is an intimate medium because it broadcasts to the viewer in his home where he is not subject to the mass reaction which influences him in the theatre and the motion picture house. In an essay called "Good Theatre in Television," Paddy Chayefsky says, The camera allows us a degree of intimacy that can never be achieved on the stage. On the stage, the element of pro- jecting out to a large, organized audience precludes the use of delicate scenes. The scene must be sharp, clear, and the emotions examined must be profound and deeply disturbed ones. 11 The relative closeness of the television viewer to the performer on the screen must also be considered as a factor influencing the intimacy of television. The Subtle Quality of Television In reading the plays of Paddy Chayefsky it is apparent that his dramas are essentially character studies. Chayefsky says, "In television, there is practically nothing to subtle or delicate that you cannot . . .. '12 examine it with your camera.‘ Because television has this intimate and subtle quality the audience is quick to pick up the insincere, the false, and the distortion of reason. Television has the characteristic of "revealing character in 13 quick, intense touches." The characterization which is accepted in llPaddy Chayefsky, "Good Theatre in Television," How to write for Televisign, ed. by William I. Kaufman (New York: Hastings House Publishers, 1955), p. h5. lZIbid. m 3Roberts, 22. cit., p. 3. the theatre will seem gross on television, because the television close- up magnifies emotion. Structure and Time The methodology changes with the subject matter in television writing and Chayefskv feel that powerful story lines and strong climaxes are not as important in television. He advocates stories built on a moment of insight into the life of a typical person. The hour-long television play is similar to the stage play in structure. Both are similar in that they follow the three~act form. Paddy Chayefsky says that he uses Act I to establish the situation, Act II for the subplot and foreshadowing, and Act III for the climax and resolution.15 John Crosby, in his syndicated newspaper column, quotes Walter Kerr who, at first glance, seems to disagree with Chayefsky. Kerr's thesis is that where the stage drama starts out slowly and builds to a third act climax, television starts out at a very intense pitch and then shrinks at the slime.16 This thesis is not a contradiction of what Chayefsky has to say, since, in this writer's opinion, Kerr seams to be concerned with the time element of television rather than with its lehayefslqy, 92. 933., p. to. lsCheyefsky, Television Plays (New York: Simon and Schuster, 1955), p. 86. 16John Crosby, "Radio and Television," New York Herald Tribune (June 26, 1955), p. 33. 10 actual structure. The time limitation of television requires the play- wright to start his play at a.more inte-se pitch; he has to get into the action faster. The time limitation presents a difficulty to the writer. The half hour play calls for approximately 23 minutes of play— ing time, the hour show is roughly SOminutes.l7 Considering the restriction of television playing time, any adaptation will usually require condensation. In the adaptation of fiction, "the yardstick of selection should not, however, be its [fiction's] popularity, but the C C O Q I 18 Simp11City of its essential story." Economy and Exposition Adherence to time limitations is an essential part of television writing. The writing must be economical. Eyery character trait must serve a definite plot purpose. Roberts says time cannot be wasted on ‘ ,. , . _ q , . . 19 a scene whicn does not advance the plot; time 15 too preCious. Roberts also says the time limitation of television has resulted in one good method of exposition. The sooner the principal characters come on camera and carry the burden of their own exposition-—in action, through illustra- tive incidents which set the situation, start the plot going, and characterize the people--the better the television play. ‘ Rod Serling, "The Happy Medium," How to write for Television, ed. by William I. Kaufman (New York: Hastinzs House Publishers, 1955), p. 70. 18 o - I .. 1 o o a '1 - worthington Miner, "PronuCing for TelCViSion," PrOduCing the Play, ed. by John Gassner (New York: The Dryden Press, 1953): PI—EQS. 19Roberts, pp. cit., p. 9. 20 Ibid., p. 78. The Growth of Conflict If the nature of television is to be subtle it can be deduced that live television cannot present the panoramic or spectacular scenes, so inherent in the motion pictures, with any degree of realism. Ann Howard Bailey, who has written many plays for television, says that most of the conflicts for television drama will grow out of dialogue between people rather than from their actions. The "Out of Sight" Principle 0 ‘Wide territory scenes should be avoided on live television.“ Filmed television shows do cover a wider scope, but even here Roberts applies the "out of sight" principle. This principle takes into account the fact that most viewing screens of home television receivers still are small. Because of the size of home receivers "everything is in proportion, i.e. people in relation to their settings, the vaster your setting in view, the smaller your people."23 Roberts states that even the motion picture camera must work closer to action when it is filming 2b a show for television. 21Anne Howard Bailey, "You can write for TV - if -I," How to write for Television, ed. by William I. Kaufman (New York: Hastings House Publishers, 1955), p. 20. 22Burr, op. cit., p. 29. _a. 23T , doberts, pp. Cit., p. 13. Ibid. 12 Controlling Factors of Live Television Many filmed television shows cannot be produced as live television. According to Roberts, "The controlling factors of Time (transitions), Make-up and Costume Changes, and Scene Changes determine whether or not I ' ‘ I n I ' I "25 - ° . t a motion picture play can be proauced live . The playwrigh writing for television must make sure that his characters have time to move from one set to the next in consecutive scenes. Make-up and costume changes require some time and thus it is necessary for the play— wright to dramatically compensate for any of these variable factors. The Budget and Identification The National Broadcasting Company states in its interdepartmental correspondence to all writers doing originals and adaptations for NBC $ Matinee Theatre: 'we are limited to 10 full parts and this is a budget re- quirement which we are sure you will all understand. This can mean seven full parts and six S-line parts. (Two S-line parts equal one full part) The ratio of fUIl parts to S—line parts is up to you. If your cast is small, we'll have more money to go after better actors. If necessary, we can use extras, but try to limit it to as few as possible.2‘ There is another reason, aside from budget, for limiting the number of characters in a television play. Little identification can take place when a relatively short dramatic show has a large cast. It is 251bii., p. 225. 6National Broadcasting Company, Interdepartment Correjpondence (New York: August 22, 1955), p. l. true that the theatre has to consider the same limitation, but tele- 'ision has even less time to develop characterization. General Criteria Certain limitations of the television medium have been considered. The cone of the television stage, the selectivity of the camera and director and the immediacy, spontaneity and intimacy of the medium all effect the writing technique of the playwright. The relationship of structure and time, economy and exposition, and the "Out of Sight" principle all, in some way, must be considered by the television play— wright. In addition to these limitations, the practical criteria imposed by commercial television should also be considered. Thomas H. Calhoun of the N. W} Ayer & Sons Advertising Agency states: Every dramatic program series has, to begin with, an edi- torial premise, dictated by such things as the type of person (in terms of age, income, cultural background, etc.) you are trying to attract as a composite viewer, the type of environ- ment into which the commercial message will fit best and often the public relations objective of the sponsor. The line separating limitation from criteria is an interrelated line and, in effect, a limitation is also a criteria. Several large advertising agencies which produce dramatic television shows list their general criteria for a program of this type. The following is a compendium of what these agencies state as their criteria for the dramatic television show. 27Letter from Thomas H. Calhoun, Program Manager, N. W} Ayer & Son Advertising Agency (New York: November 22, 1955). 111 I. Any dramatic script, and this does not depend on the length of the script, should have "unity of action, time and place." It is important to note here that the only dramatic unity Aristotle recognized is "Unity of Action."23 "Unity of Action" is shown in two ways. First, all the forces in the play should have a causal relation— ship, and second, the forces should be directed toward a single end. Edward Barn Roberts also mentions the unities of Aristotle They simply mean that you should choose, preferably a story with a tightly-knit plot, which takes place in not too me * settings, and in as short a period of time as possible.) II. There is no preference in regard to subject matter, except that it should be of an historical or timely nature. III. The playwright should not write above the heads of the composite audience, but he should also not give the feeling of writing down to an audience. IV. Because of the heterogeneous composition of the audience, the playwright must choose his subject matter from a variety of mass appeal subject matter and present this material in a quick and attention getting manner. He must be sure that his material is in taste with American.moral and ethical standard 283 H. tcher, Aristotle's Theory of Poetry and Find Art (London: PHacIillan and Co., Limited, l923),fp. 290. 29Ibid., p. 28h. 30E TPdward Barry Roberts, Television Hriting and Selling (Boston: The writer, Inc., Publishers, 195E), p. 9. 15 In regard to subject matter, the playwright must adhere to the acceptability standards of program material as set forth by the Federal Communications Commission and the code of the National Associ— ation of Radio and Television Broadcasters. Both organizations have a rather obvious list of television taboos. For example, the following are forbidden: profanity, obscenity, attacks on religion and sex crimes. V. From the point of view of a commercial dramatic show, the writer must be aware of the dangers of writing about highly controversial subject matter. The production manager of a large New York advertising agency expressed the problem this way: As we are a commercial organization basically serving the interests of our clients, and at the same time wanting to pro- vide good entertainment in the home, we find it necessary to avoid any highly controversial subject matter which may or may not offend minority groups whose resultant ill will could be reflected upon our client's products.32 VI. All the communications media have a similarity in that they should avoid situations and dialogue which could be called hackneyed or trite. Many authorities point out similar points which the writer must consider in creating his original or adapted play. Although there is some overlapping, these additional criteria are indicated. 31National Association of Radio and Television Broadcasters, The Television Code of Radio and Television Broadcasters, (washington, D. Go, KEI'Ch 1, 195,27. 2 p 1 , . 3 Letter from Roland F. Howe, Jr., Pronuction Manager, Ruthrauff & Ryan Inc., Advertising (New York: November 21, 1955). VII. The story should be such that the viewer identifies himself with a person or situation in the play. VIII. Honesty and good taste are important factors in the tele- vision play. IX. Phillip L. McHugh of the Campbell-Ewald Advertising Company points out that the story should be emotionally satisfying. He also stresses that the story should be uplifting in its implications.33 It is according to these limitations and criteria established for dramatic television that the playwright should mold his play. It does not matter whether he is writing an original play or an adaptation. The important thing is that the playwright can achieve greater success if he understands and works with his medium. 33Letter from Philip L. McHugh, Vice-President, Campbell—Ewald Company (Detroit: November 25, 1955). CHAPTER III THE ANALYSIS OF NOON WINE The Fiction of Katherine Anne Porter Katherine Anne Porter's first volume of short fiction, Flowering H O O l O O Judas, was published in 1930. Three more volumes of short fiction . W 0 2 have appeared, Pale Horse, Pale Rider in 1939, The Old Order3 and . . l . , The Leaning Tower in 191m.l In 1952, The Days Before, a personal record of Miss Porter's non—fiction writing, was published.5 Miss Porter is currently working on a novel called Ho Safe Harbor. Although there were several of Miss Porter's short stories from which to choose, "Noon Wine" was selected because of its dramatic potentiali y. The following short stories were also considered: "Pale Horse, Pale Rider," "The Jilting of Granny weatherall," "The Cracked Looking-glass," "A Day's'Work," "The Downward Path to Wisdom," "The Leaning Tower," "Rope," and "Theft." 1Katherine Anne Porter, Flowering Judas (New York: The Modern Library, 1935). l\) Katherine Anne Porter, Pale Horse, Pale Rider (New York: The Modern Library, 1939). 3 . _ Katherine Anne Porter, The Old Order (New York: Harcourt, Brace and Company, l9hh). 1LKatherine Anne Porter, The Leaning Tower (New York: Harcourt, Brace and Company, l9hh). Katherine anne Porter, The Days Before (New York: Harcourt, Brace and Company, 1952). l7 18 Some of Miss Porter‘s writing was not considered suitable for television adaptation for several reasons. Nine of her short stories deal with moral or racial problems. Miss Porter's treatment of these stories was considered an integral part of the theme and the adaptation of these stories might offend various groups in the television audience. The stories considered in this category were: "Maria Concepcion," "Magic," "Flowering Judas," "The Source," "The Witness," "The Circus," "The Old Order," "The Last Leaf," and "The Grave." Four of her short stories were considered so amorphous in nature that they would not fit a dramatic form. They ere either too abstract or too vague in the dramatic unities or it was felt that they would not fit the basic physical limitations of the medium. The stories con- sidered in this category were: "He," "That Tree," "Hacienda," and "Old Mortality." Traditionalism versus Naturalism Katherine Anne Porter is one of the southern traditionalist writers. The traditionalists covered a wider range of attitudes and interests than the group of writers known as "The Lost Generation." "The Lost Generation" was that group of writers which was disgusted and disillu- sioned by the post-world-War-I America. This disgust was reflected by the style and methodology of these writers. Gertrude Stein addressed 6 Kalcolm Cowley, Exile's Return (New York: The Viking Press, l95l), pp. 6-7. Ernest Ueminaw as,- "'1" 011 are all the 105 t .7.—.n..w._g-_CI... and this phrase "7 became the inscrieticn to Hemingway's "The Sun Also Risss. (+- lost of the members of "The Los Generation" were members of tire naturalistic school of writing. Some of the members of this school were William Faulkner, Ernest Hemingway, F. Scott Fitzgerald and John 8 ' - 1: ° no . Dos Passes. The writers belonging to -e Lost Generation flea America and located themselves in Paris. They actually fled Iew York because they felt like aliens in their own country. They were more at home in Hontparnasse than in Greenwich Village. It is no wonder that Gertrude Stein referred to tliem as "the lost {:5 eneration." Some of the writers remained in Paris while others returned to Connecticut farm- . 9 . . houses and tried to write. Malcolm Cowley states why this generation was lost: It was lost because it rie c to live in exile. It was lost because it accepted no older guides to conduct and because it had formed a false picture of society and the writer's place in it...They were seceding from the old and yet could adhere to nothirg new; they groped there way toward another scheme of liie as yet undefined; in the mid_st of their doubts and uneasy gesture of defiance they felt homesick for the certainties of childhood.1 The Naturalistic writer conceived of man as a victim of his passions, his social and economic environment. This type of a man was devoid of 7Ibid. 8James D. Hart, The Oxford Companion to American Literature (New York: O::ford University Press, 1 )nlj} p. 517. 9m 10 Cowley, op. cit., pp. 6-7. ‘ Ibid. 20 free will. The naturalistic writer did not make any moral judtients, J— o o_- J_o o 1 ll bUU rather painted a peSSinistic picture of medern man. Out of this generation of writers arose the traditionalist writer, whose aim was also to examine the morality of his time, but with the 12 additional motive of perfecting his method of craftsmanship. whereas the naturalistic writer took a rather materialistic view of life, the traditionalist writer accepted this view but would not reject the east d its effect upon life. Through this latter view a type of ambiguity was created and particular problems had many levels of consideration and explanation. A great deal of the literature created by the traditionalists reflects the ambiguity of life. Ray B. west describes the tr d’tionalist writer in the following manner: “What distinguishes these writers as a group, however, is not merely the manner in which they differed from their predecessors but also the means by which they profited from the long line of literary tradition, applying the lessons of the past to a form which has up to this time scarcely achieved definition. From the past they recovered the concept of man as a heroic and tragic D._ ‘ o o '_ -L° - 5 o f. o 11' iigure, thus substituting skeptiCism and irony ior the Wisniul optimism of the nineteenth century.13 The southern traditionalist writer grew out of this group of traditional- ist authors. In the South there is a society which has fallen from a point of social greatness and still relives its past moments of glory. llJames D. Hart, op. cit., p. 517- 12 1' ’1'! r1 0 .- o 0 Ray B. Nest, The snort story in anerica (Chicago: Henry Regncry Company, 1952), p. 59. 131-93920, pp. 59-60. Thus a rather incongruous situation has been created, since the writer must examine a ruined society still living in the past, while examining it in terms of the present. It is interesting to compare the Southern traditionalist writer with a member of "The Lost Generation" of writers. Ernest Hemingway is considered a naturalistic writer and a member of "The Lost Generation." Edwin Berry Burgum has this to say about Hemingway: Hemingway's admiration was perforce for the past; ando one won:icrs for a time which horn of the dilelmia a writer of so ruch esthetic insight would choose; whether he would alien himself with the past, choosing the perfect at the price of its having become illusion, or accent the reality of present with its apparent imperfections.l) It is the opinion of this writer that Hemingway chose to accept the "reality of the present," whereas Katherine Anne Porter chose to examine the past in terms of the present and recognize the illusion. Traic qedy and Katherine Anne Porter The Aristotelian concept of tragedy includes the thought that the tragic hero should fall from a position of elevation and eminence. This Southern society has done. Another Aristotelian idea is that fear and pity of the situation facing the tragic hero are essential for the , 16 i . . . . arama. if the teleViSion play contains p01nts such as pity and fear —-'- lhlbid., pp. 71-72. Edwin Berry Burgum, The Novel an; the world's lilemma (New York: Oxford University Press, l9h7), p. l9h. S. H. Butcher, Arie totle's Theorv of Poetrv and Fine Art U (London: MacHilla.n and 00., Limited, 1923), pp. 200—271. 22 a certain amount of empathy between screen and viewer is created. Butcher, in his interpretation of Aristotle's Poetics says, "So much human nature must there be in the tragic hero that we are able in some sense to identify ourselves with him, to make his misfortunes our own."17 In the opinion of the writer, an empathic response and identi- fication between the viewer and action result in a more successful television drama. Katherine Anne Porter's writing has been contrasted and compared with some of the poetry of Robert Frost. There is a startling simi- larity in theme and poetic quality between "Noon wine" by Miss Porter and "The Death of the Hired Man" by Frost. The tragic quality of Miss Porter's writing is shown by the two propositions around which her work revolves: "the necessity for moral _ . . . . . a. . . . l8 . definition, and the difiiculty of moral definition." The two propo- sitions are actually dilemmas. Miss Porter's characters must make a choice and the choice often leads to an exposure of the "tragic flaw." The flaw results in the destruction of the characters. Miss Porter's characters do not, however, have the moral elevation and dignity which . . 19 the true tragic hero possesses. ' 17 . Ibl'j 0 Robert Penn warren, "Introduction to Katherine Anne Porter, A Critical Bibliography," Katherine Anne Porter, A Critical Bibliograogy (New York: The New York Public Library, 1953}, p. 9. l9 . Butcher, pp. E$£°: p. 260-271. 23 Miss Porter's characters are symbols, but they are also isolated. They are isolated in the sense that they possess their own peculiar personalities. "So much human nature must there be in him that we are able in some sense to identify ourselves with him, to make his mis- 20 If this thought can be applied to the fiction of fortunes out own." Katherine Anne Porter, her writing cannot be considered tragedy, although her writing has a tragic quality. Miss Porter writes with the goal of preserving the continuity of an individual's life by relating the past to the present. Miss Porter expressed her philosophy when she wrote: Perhaps in time I shall learn to live more deeply and con- sistently in the undistracted center of being where the will does not intrude, and the sense of time passing is lost, or has no power over hnagination. Of the three dimensions of time, only the past is 'real' in the absolute sense that it has occurred, the future is only a concept, and the present is that fateful split second in which all action takes place. The Story of "Moon Wine" "Noon Wine" is the story of a poor Texas dairy farmer who has a false sense of pride and dignity. He feels that he is too good to do certain types of farm work, which he feels are women's jobs. Mr. Royal Earle Thompson recovers some of his self-respect, or the illusion of self-respect, when he hires a Swedish farm—hand who causes the farm and 20 Katherine Anne Porter, "Notes on writing," The Creative Process, ed. by Brewster Ghiselin (New York: The New American Library of werld Literature, Inc., 1935), p. 200. 2h family to prosper. Clef Helton, the farm—hand, continually plays the theme, "Noon Wine," on his harmonica and the song is one level of theme for this short story. The family grows and prospers for nine years until one day Mr. Thompson meets Homer T. Hatch who is an amateur detective and wishes to return Hr. Helton to the asylum from which he is supposed to have escaped. Mr. Thompson thinks‘that Hatch has plunged a knife into Helton when the farm-hand rushes out of he back yard and so Mr. Thompson kills Hatch with an axe. Thompson then sees Helton flee. Hr. Thompson's life falls to pieces when Helton is captured and there is not a knife wound on him, although Helton has been killed by his captors. Thompson is exonerated by the court, but he still tries to recapture the respect and trust of his neighbors. The neighbors, however, do not believe him and so Thompson drags his sickly wife along to the neighbors’ homes trying pitifully to free himself of his feeling of guilt. This drive to capture his former easy peace of mind continues until even his wife and two sons lose faith in him. He then seeks the only way out--suicide. The Intimacy of "Hoon Wine" Gertrude Buckman, in a review of the volume which contains "Noon Whmfl'mwm e [Hiss Porter] has written stories which at first glance seem to be little more than self-indulgent puffs of nostalgia, she holds so fast to reality, there is so much heart in her accuracy, that the stories spread out beyond the bare meaning of the words and the incidents related, to become authoritative and substantial images of an entire society.22 A television adaptation of "Noon Wine" would be possible since the basis of conflict is not in the spectacular or the unusual. It is related to the "intimate" meaning of a detailed study, through internal analysis, of a small moment of li e. Robert Penn warren notes that in "Hoon Wine" Miss Porter is similar to Frost, Chekhov, and Ibsen in that she has the technique of isolating common things and through simplicity and contrast achieves a type of sensitivity and eloquence.23 There seems to be some relation- ship between intimacy and the simplicity of isolation. Here is an example of this technique of isolation: The two grubby small boys with the two-colored hair who were digging among the ragweed in the front yard sat back on their heels and said, 'hello,‘ when the tall bony man with straw— colored hair turned in at their gate. He did not pause at the gate; it had swung back, conveniently half open, long ago, and was now sunk so firmly on its broken hinges no one thought of trying to close it. He did not even glance at the small boys, much less give them good-day. He just clumped down his big square dusty shoes one after the other steadily, like a man following a plow, as if he knew the place well and knew where he was going and what he would find there.24 This flowing style is typical of Katherine Anne Porter and points up the simplicity and continuity of the prose narration. This is not 22Gertrude Buckman, "Miss Porter's New Stories," Part'san Review, XII (Winter, 1915), p. 132i. "‘ ‘1 “Robert Penn'Warren, "Introduction," Katherine Anne Porter, A Critical Bibliography, ed. by Edward Schwartz (New York: ThefiHew Y rk Public Library, 1923), p. 3. 7‘ 2h . . - Katherine Anne Porter, "Noon Wine," Pale Horse,_Paie Rider (New York: Random House Publishers, 1939), p. 93. 26 the pseudo-intellectual jargon of the sophisticated society writer. It is understandable to a wide and heterogeneous audience. The dialogue and descriptive passages have a poetic quality which has a cumulative effect resulting in the mood and tense atmosphere of "Noon Wine." Characterization and Adaptation For the television adaptation the descriptive passages can very easily be translated into camera shots and stage directions. Miss Porter's writing is a disciplined type of writing and there is neither rJ waste nor artificiality in her style.2) One of the problems involved in adapting "Noon Nine" to television is brought about by the different ways in which Miss Porter creates characterization in her short stories. All of the characterization in a television play, as in a stage play, is produced through action, dialogue, movement, stage business, and mood effects.- In Miss Porter's story characterization is produced by revealing the actual thoughts of the characters and through the author's description of the character's actions. The playwright, in adapting this story, will have to translate this descriptive characterization into explicit and observable action. The story is told through the narration of the third person. Miss Porter achieves a rather paradoxical situation in the fact that when most writers use this omnicient viewpoint an attitude of detachment 25 warren, pp. cit., p. 7. 27 ' O I is developed,26 whereas hiss Porter creates a type of freedom of characterization and a certain inwardness of character through her . . . . .L 27 . , . use of selectiVity and SlmpllClby. Here again the playwright must apply dramatic writing techniques to transfer the simplicity and selectivity of this short story to the adaptation for the television medium. The Theme of "Moon Wine" The theme of "Moon Wine" is that the inherent goodness of man is often mistaken for evil. This theme represents the anbiguity and irony of life. This ambiguity is present on an over-all level, but is also present in the individual lives of the characters involved. It is, however, expressed in different ways by each character. The Analysis of Royal Earle Thompson In Royal Earle Thompson, hiss Porter has created a man who is very disillusioned about life, but who does not recognize his own disillusion- ment. He feels a loss of dignity when he has to milk cows, churn butter, or any other kind of fann work; work which he feels is women's work. In Thompson's mind is the constant thought that he needs to appear, in the eyes of his fellow men, as someone worth—while. All his carefully limited fields of activity were related somehow to Er. Thompson's feeling for the appearance of things, )f“ 'V " - 1' fl" . bleanth Brooks and Robert Penn Warren, Understanding biction (New York: F. S. Crofts and Company, lQhS), p. 393. 7warren, 3p. cit. his own appearance in the sight of God and man. 'It don't look right,' wasqhis final reason for not doing anything he did not wish to do.¢° Earle Thompson is "a tough weather-beaten man with stiff black hair." He usually needs a shave. He thinks he is bigger than he really is. He is a small man who carries himself like a large man. There is a false sense of gruffness about him which is a covering for his deep sensitivi Thompson is a failure and, of course, he does not and will not recognize this fact. It is interesting to see that there is a certain amount of warm unity in the family and it is important to note that Thompson is essentially a good man. Thompson's striving for pride and dignity is ambiguous, because his conception of these terms are not realistically understood. Thompson, in his relationship with other men, shows that he is self-conscious and has to put up a blustering front as a means for appearing with dignity. But Royal Earle Thompson is not a stupid man, for he shows insight into Helton and especially Hr. Hatch. "His joviality made Mr. Thompson nervous, because the expression in the man‘s eyes didn't match the sounds he was making."29 Although Thompson probably has selfish motives in his subconscious mind, he does not kill Hatch with premeditation. The court's verdict is based on the lack of premeditation and after he is acquitted by ‘4 _—O H. ——‘——-— 28 r- 0 v -—o -— T - . Ratherine Anne Porter, "Noon Nine," Pale horse, Pale Rider (New York: Random House, 1939), p. 113. 9 2’Ibid., p. 131. 29 the court, Thompson still has the feeling of frustration and self- guilt. In the end he is completely shattered by his family's loss of faith in him. Very methodically he takes a shotgun and commits suicide. He was trembling and his head was drumming until he was deaf and blind, but he lay down flat on the earth on his side, draw the barrel under his chin and fumbled for the trigger with his great toe. That way he could work it. Thompson is alnan who lived according to a code and a tradition which he has set up as a criteria for himself. The code, however, is not a consistent one. Head erect, a prompt payer of taxes, yearly subscriber to the preacher's salary, land owner and father of a family, em- ployer, and a hearty good fellow among men.31 Here is the idealized picture in which Thompson frames himself, but there is also an interwoven realistic picture of him. The man pro- crastinates and saves necessary work for the time when his sons will have grown-up. He rationalizes his wife's sickness until her sickness is no longer a hinderance, but an item of which he is proud and can depend on. His private code says: "It doesn't pay to be friendly with strangers from another part of the country. They're always up to some- "32 thing, or they'd stay at home where they belong. He is inconsistent in that he trusts Helton although Helton is as much a stranger to him as Hatch. 3OIbid., p. 176. 31Ibid., p. llh. 32Ibid., pp. lh3-lhh. 3C Hatch: The Personification of Evil One of the causes of conflict in "Noon Wine" is the clash of personality between Hatch and Thompson. What has been created is a duel between good and evil. Before he kills Hatch, Thompson seems justified in his dislike of the mercenary detective. The detective is more than a ruthles money-hungry individual, he is a personification of evil. Hhile they were talking, Hr. Thompson kept glancing at the face near him. He certainly did remind Mr. Thompson of some- body, or maybe he really had seen the man somewhere. He couldn't just place the features. “Hr. Thompson decided that all rabbit- teethed men looked alike.)) What Thompson really sees is the reflection of the evil of man- kind in Hatch. Glenway wescott, in his review of "Noon Vine," comments that Hatch not only hunts men, but represents all of mankind as an im- mortal manhunter. Wescott continues and says, "He is not only a busy- bodi, he is the great American busybody...she...Hiss Porter...means ‘Hatch to be a personification as well as a person."3h Most of the characters in "Noon Wine" seem to have physically paradoxical qualities, as if they had gone through some type of meta- morphasis. Hatch is one of these characters who shows signs of physical or mental change. 3'3 w 0 ~ ’3 "I EQBTE°’ pp. l)2‘—_L 3o 1: (‘9' ~— I -~ 0 «a. '1 . o ’ Glenway uescott, "Braise," Egmtpern Rev;ew (1939), pp. 161-173. He wasn't exactly a fat man. He was more like a.man who had been fat recently. His skin was baggy and his clothes were too big for him, and he somehow looked like a man who should oe ‘ J- fat, ordinarily, but who might have just got over a spell of . , '3 L" Sicxness.2) Hatch's free manner and false laughter are a means to an end. His object is to twist everything said or done until it becomes advan- tageous to himself. He turns Lis mood on and off according to the exist- ing conditions and makes the most of his opportunities. Hatch is society's parasite and like a cancerous growth, he taints every living thing he touches. The Tragedy of Royal Earle Thompson Throughout his discussion with Hatch, Thompson is on the defensive, seeking to recover his lost dignity and straighten out the twisting of his words by Mr. Hatch. The irony of the story is that the Thompson family is not brought to destruction by any fault or mistake of their own. Their downfall is caused by their striving, especially Thompson's, to be good and decent in the eyes of their fellow men. The act of murder which Thompson co nits is rather ambivalent in its nature. In one way he has committed a grave sin, on the other hand, he has somehow seen the evil in Hatch and has performed a worthy act by destroying this evil. Thompson could be considered a tragic figure had he known what he did, but the paradox is that he does not know the importance of his action. 1' T 1 I Katherine Anne Porter, "Noon vine," Pale Horse, Pale Rider (New Yorc: i ndom House Publishers, 1939), p. 130. Katherine Anne Porter hasu aways been interested in this type of a tragic figure. Edward Schwartz says: ...she [hiss Porter] believes that before a man can accept his human responsibility he must lose his childhood innocence and understand the fact of evil and death in human life. Such an awareness, Miss Porter recognizes, may lead to negation and death, but the road to salvation, to a sense of individual iso- lation and a consequent compassion and return to human community, is arduous and the unwary may not escape from its Scylla or Gharybdis. And so Miss Port er's irony is inseparable from a complex attitude that is basically tragic: she senses a tragic flaw in the human faculty; man creates his own evil, plots his own destruction.5 The Analysis of Olaf Helton Olaf Helton is the catalyst of "Hoon Nine" in that he brings about no sitive change by causing the family and farm to prosper. But he 1 also brings negative change when he indirectly causes Thompson to kill Hatch. Thompson dc mf nds Helton and this defense is the motivating factor for Thompson's act of murder. Miss Porter does not characterize Helton as she does the other figures in the story. Helton seems to be a symbol rather than a character. By character is meant, "The sum of the traits and devices that serve to individualize and personalize an arent in the story."37 This absence of characterization by Hiss Porter is because Helton is a personification of what he stands for; the victim of the persecution of man . _ '37. J6Edward Schwartz, The Fi' ct ion _of Fatherine inns Porter. (Doctoral Dissertation, Syracuse Univer31t 1933 )7 p. 231. 37Hubert C. Heffner, Samual Selden & hunten D. Sellman, Hoiern Theatre Practice (New York: F. S. Crofts & Company, l9h6), p. 28. The tune Helton continually plevs on his harmonica symbolize es the theme and isr dated to the trag edy of man. 'One of the Scandahoovians told me what it meant, that's how I come to know, said Hr. Hatch, 'Especially that part about get- ting so pay you jus' go ahead and drink up all the lildcer you got on hand before noon.'38 Man has his noon wine in paradise, but with nothing left disinte- gration of paradise results. The song and title "Noon Wine" take on an almost amorphous quality and what results is a poetic and lyrical atmosphere and mood interwoven throughout the story. Hr. Helton is a tall and M :Lnny man with legs too long for his body. He has faded straw-colored hair and a "long gaunt face with blue eyes and white eyebrows." He is similar to Hrs. Thompson in that tney both lack vitality. Helton could also be considered faded out, but in a different manner " rom hrs. Thompson. Helton is a washed-out person, not an individual, H) but one who has been tamed by the forces of life and has lost all in- stincts of spirit and passion. Helton does not talk or look at people, he just talks and looks through people. He never had looked at Mr. Thompson, but there wasn't any- thing sneaking in his eye, either. He didn't seem to be looking anywhere else. His eres sat in his head and let things pass them. They didn‘t seem to be expecting to see anything worth looking at.39 ‘ Even in Helton there seems to be some hidden strength. He is like an automaton who is motivated by some mysterious force and when the g— - 38Katherine Anne Porter, "Noon wine," Pale Horsez Phli Rider (New York: Random House Publishers, 1939)," p 1u6 ' ‘”‘”"“ 39 an” p- 95. 3L! automaton breaks down the source of failure is usually a worn out tube or a stripped gear. Helton is an automaton with a schizophrenic con- dition. He has a split personality to such an extent that maniacal tendencies are aroused when someone touches his precious harmonicas. Why is Helton a Swede? One possible answer is ”hat the Swedish people haye been stereotyped as being diligent and virtuous. Helton must be characterized in such a way that his passive mood is a contrast to the extreme passion he exhibits when his harmonicas are touched. Actually Helton could have been of any other nationality, but the term "Swede" has a connotation which is economical in his characterization. The Analysis of Mrs. Thompson The rest of the family consists of Mrs. Thompson and her two sons, Arthur and Herbert. The two boys are eight and six years old in the early part of the story and seventeen and fifteen years old at the end. Hrs. Ellie Thompson is a physically weak person and yet she needs her sickness. To a certain extent, her early loss of faith in her husband has resulted in a dependence on her sickness. She can be con— sidered a hypochondriac. She shows constant signs of marked anxiety as to her own health and, perhaps, even thinks up imaginary ailments. Mrs. Thompson is a little woman with brown hair. She has "a suffering patient mouth and diseased eyes" and these features are pointed up by a few remaining signs of girlish beauty. She has faded and very little vitality remains within her. She is so faded that she clings to the shade because the sunlight hurts her eyes. Mrs. Thompson is an educated woman and has insight into her husband and children. She takes pride in her two sons and treats them with tenderness. She has a certain amount of strength in her weakness. This weakness has made her oversensitive to emotion and cruelty. Both the wife and the sons are sign-posts to show how the family relationship has disintegrated. In the end, the fear by Mrs. Thompson, that perhaps her husband can kill again, causes Thompson to lose his remaining dignity or self respect and he goes to his death. CrlAi’TER. IV SCE‘.‘=TARIO FOR Edgy; ACT I It is a lonely night. Royal Earle Thompson is sitting on a log. He stares straight ahead and he is leaning on a shotgun with both of his hands. He slowly, as if in a daze, puts down the shotgun. Then he slowly unties his right shoe, takes it off, takes off his sock and puts it back into his shoe. He sits a moment and picks up the shotgun again. He sets the butt of the shotgun on the ground, leans his chin against the gun mouth. Thompson slowly puts his toe against the trigger. He sits gathering courage. Beads of sweat begin to cover his face, tears form in his eyes and he begins to cry. He lifts his head, lowers it again. He sobs and breaks down, lowering the gun. 1?];ii:3}ll3éafi3l{ It is early in the morning and two small boys sit in front of their farm home. The yard is surrounded by a broken-down old fence and gate. The house is a wooden-one-story house. It is weatherbeaten and in need of a good painting. Three sides of the house are surrounded by a porch. A tall bony man with faded overalls and snirt walks through the gate. He passes the boys, who say hello, but the man doesn't answer. 37 He walks right up on the porch, as if he knew exactly where he was going, and walks around to the side porch where Mr. Thompson is sitting daydreaming as he churns butter. The man, Olaf Helton, tells Thompson that he is looking for work. Thompson says that he is in need of some help and the two men introduce each other. There is some discussion about where Helton has worked .before and Helton comes right to the point and says that he is used to getting a dollar a day. Thompson is taken by surprise and explains why he cannot pay that much money. As he is explaining this, Helton never changes his expression and stares straight ahead. Helton takes out a.harmonica and plays a rather sad song. Thompson offers Helton seven dollars a month plus room and board. The Swede takes the offer and is told to keep the harmonica out of reach of the children. The fann-hand reacts by pressing the harmonica close to his body and then puts it in his shirt pocket, as if hiding it. Thompson tells the Swede what he has to do and tells him to con- tinue the churning. The farmer gets up and walks around to the front of the house and into the living room. A small frail woman is working in the kitchen. The kitchen.has two large windows from which Helton can be seen churning the butter and also a shack can be seen about thirty feet away. This is the hired man's shack. Thompson comes in and tells his wife how good a bargain he made and how he got it. Thompson tells Ellie that he is going to go into town for groceries. She warns him not to go to the saloon, but he walks out laughing. Ellie.works a bit and then lies down. TIE-’33 TRANSITION Ellie wakes up to hear the sound of a harmonica. It is the same tune Helton played earlier and is the "Noon Wine" theme. She lies still when suddenly the music stops. Ellie gets up and walks over to the kitchen window where she sees Helton furiously shaking first one boy and then the other. Helton lets them go and the boys run silently towards the porch. Mrs. Thompson walks through the living room and opens the screen door. She has forgotten her sunglasses, so she shades her eyes and walks out on the porch where the two boys sit very quietly. She asks them what they were doing and they answer, "Nothing." She tells them to help her in the house and they scamper into the house, followed by Ellie. TIME TRANSITION The screen door opens and F . Thompson enters. He straightens himself up and walks toward Ellie and pinches her cheek. "No more meat on you than a rabbit, Now I like 'em cornfed." Mrs. Thompson answers, "Why, Mr. Thompson, sometimes I think you're the evilest—minded man that ever lived." She tells her husband that he has been drinking. He shrugs off the fact and he tells her how Helton's already cleaned up the shack and has the butter and eggs ready. He is ‘very proud of himself and tells Ellie what a businessman her husband is. "Yes-Sir, I know a good thing when I see one." Mrs. Thompson's mood changes and she tells her husband that the hired man has shaken the boys for some reason. She tells him to find 39 out what was wrong. He goes out to talk with Helton and Ellie goes to the window and calls the boys. The boys come in playing and imitat- ing the Swede. "Gude not," imitating his speech. Ellie tells them to wash up for supper and they go to a pan of water in the sink, splash water on their hands and faces. They both wipe their hands on their pants, still playing the game; "Gude not, Gude not." Thompson enters, not noticing the boys, tells his wife what happened. The boys had sneaked into Helton's shack and had got his harmonica dirty. Thompson notices the boys and tells Ellie how bad they really are and how he is going to whip them. He says that they will wind up in a penitentary. Herbert says, "I'm going to get sent to the 'formatory when I'm old enough." The father asks who said that and Herbert says that the Sunday school teacher told him that. The father gets mad and the boys sense that he means business. Ellie tells her husband that the boys are very little and she persuades her husband that she ought to take care of the punishment. She tells the boys to call Helton and to be nice about it. The boys go out to the door and Thompson says, "Them boys!" All of a sudden the boys yell, "Say, Helton, you big Swede! Supper's ready!" Thompson hears this and says, "Them boys 'ill be the ruin of me yet." 1 Mrs. Thompson says that the boys are good boys and that if anyone is going to be the ruin of Mr. Thompson, it could just as well be any stranger, even the man outside. Thompson looks at his wife. END OF ACT I ho ACT II It is nine years later. The boys and Helton haye just left the table. Thompson relaxes and comments that the preacher has asked him to become a member of the church council. Ellie complains that in nine years Helton has not gone to church and that he does not eat right. The sound of the harmonica can be heard in the background. Thompson tells her not to worry about Helton since everything has improved and they are even.making a little money; in fact he has given Helton several raises. Ellie wonders what the hired man does with his pay, since he seldom goes into town. Arthur and Herbert enter and ask their father whether they can go into town to get some wood for the new corn crib. The father says all right and tells them to take care of a few other matters in town. The boys exit and Ellie comments on how the boys have grown up and Thompson explains it is because they were brought up the right way. Thompson thinks about resting a while on the front porch and so he goes out. He stands there looking out for a minute and sits down. The sound of a team and wagon is heard coming to a stop in front of the yard. A man wearing rather baggy clothes, as if he once fit them, comes through the gate and walks up to the steps. He introduces himself as Homer T. Hatch. He says that he has come to buy a.horse. Thompson explains that he does not have a horse for sale and that he usually tacks up a little sign when he does. Hatch roars with unnatural laughter and explains that this is an old joke of his because he has noticed that nobody gets suspicious when he says that he has come to buy something. Thompson answers that he is never suspicious of anyone and the stranger says that he is really come to talk to him about a "little matter." Thompson suggests that they go around to the other side of the house where it is a bit more shad". This is the side away from the kitchen and the hired man's shack. The men sit down on two stumps near the woodpile and Thompson first takes an axe, buried in one of the stumps, and lays it down on the ground. There is some con- versation about Where each of the men came from originally and finally Hatch discloses he's looking for a man named Olaf Helton. Thompson finds himself on the defensive and says that Helton is a steady man. Hatch replies that the Swede must have mended his ways. "Now when I knew Helton he was pretty wild." He continues and says that it will be nice to see his old friend again, especially since he has settled down. Thompson says that everyone is young once and offers to get the hired man. Hatch replies that there is no hurry. The sound of the harmonica theme is heard. Thompson says, "There he is, now's your time. I know that tune like I know the palm of my own hand, but I never heard Hr. Helton say what it was." Hatch explains that the song has something to do with drinking all you have in the morning. Thompson says that Helton has not touched a drop in nine years. Hatch says he once played "Little Brown Jug" on the fiddle, but Helton used to sing his own little song when he was in the asylum. Thompson is bewildered and the discussion continues, being centered about Helton and Thompson. Hatch twists Thompson's words and the farmer finds himself defending himself. 142 Thompson takes out a plug of tobaCCo and cuts himself a chew and offers Hatch some, but Hatch takes out his own plug and cuts himself a chew. The knives used are pointed up. The men discover that they dif- fer in the taste of tobacco and Thompson finding himself losing the argument gets back to Helton. He mentions the fact that with conditions as they are, its a wonder more men don't wind up in straight-jackets. Hatch twists his words by saying that Thompson is right and that there isn‘t every man in a straight-jacket that ought to be there. Thompson is baffled and just sits there. He looks around, his eyes hitting the ground and noticing the axe. Hatch says that there are some people who would even hire a lunatic in their house. Thompson asks what Helton did. Hatch tells of how the Swede shoved a pitchfork through his own brother when he borrowed his harmonica to court a girl and lost it. His brother would not buy him a new harmonica and so Helton killed him. Thompson replies that something might have driven Helton to do such a thing and that Helton really thinks a lot of his harmonicas. Hatch says that, "You'd get pretty sick of hearin' the same tune year in, year out." Thompson starts to stare at Hatch, never taking his eyes off him, and says that it would help if Helton would play a new tune, but that the old tune is a pretty good tune. Hatch discloses the fact that he makes a living by capturing escaped lunatics and collecting the rewards. Helton has kept him from having a hundred percent record. He also mentions that the law is behind him. He tells how Helton had sent his old mother a check for LB eight hundred and fifty dollars and the old woman was so happy hearing from her lost son that she told everyone. Hatch heard about this and offered to find out, on his own expense, how her son was. The mother gave him a lot of presents to give to her son, which he sort of lost on the way. Thompson is stunned by this speech and tells Hatch that he thinks Hatch is pretty generous. He asks the detective what he is going to do now and Hatch takes out a pair of hand-cuffs. "But I don't want no violence if I can help it...I figured the two of us could overpower him." Thompson begins to lose control of himself and tells Hatch to get out. The detective lets Thompson know that he can always get the sheriff and that he counted on him being a respectable man. He also says it won't look good to the neighbors to be harboring a lunatic. Thompson stands up and moves toward Hatch saying that Helton's been harmless for nine years. Hatch also stands and advances toward Thompson even as the latter man is talking. Thompson completely loses control of himself and shouts that the crazy man is Hatch, not Helton. It is Thompson who is advancing now and they stand face to face. "You're on my land! Get off or I'll knock you off!" Suddenly Helton comes running and Hatch whirls around. Helton stops short and Thompson sees Hatch plunge a knife into Helton's stomach. Thompson picks up the nearby axe and brings it down on Hatch. Thompson calls, "Ellie! Ellie!" Ellie runs around to this side of the porch and Thompson yells "He killed Mr. Helton, I had to 11b knock him out." Ellie says that Helton is running away. She comes down from the porch, looks at the scene and faints. Thompson is Shown holding the axe in his hands. TRANSITION Thompson is sitting in a jail cell. A long bed consists of the furniture in the cell. There are no windows.' Several other cells are on each side of this one. Thompson is holding his head in his hands, staring down at the floor. Two sets of foot steps are heard, but Thompson doesn't look up. Mr. Burleigh opens up the cell with a set of keys and Ellie introduces the lawyer. Burleigh is very abrupt and business-like and tells Thompson that the case is open and shut. The lawyer tells Thompson that he will plead 'not guilty' on the grounds of self-defense and trespassing. Thompson tries to tell the lawyer that he was defending someone else and Burleigh says Thompson's case is not unusual and tells of all the men who, for some reason or other, have been forced to kill someone else. "But Hatch made a pass at Mr. Helton with a knife." The lawyer tells Thompson that Helton is dead. Thompson jumps up and says that is why it is not self defense. "I tried to save his life." The lawyer never lets him finish and says that Helton had no knife wound on him and that he died of wounds suffered in his capture by the sheriff. Thompson sinks down on his bed. He does not know what to say next. Finally he says that Ellie saw everything. Ellie is confused for a second and finally says that she did see everything. Burleigh sees through this lie and tells Ellie to just sit in court. He tells Thompson that he should keep calm and he will do the rest. "Let me do the convincing and I'll have you off before you know it." Thompson repeats that he tried to save Helton's life, but the lawyer just agrees and says goodbye. He asks Ellie if she is leaving. Ellie says she would like to stay awhile. The lawyer walks out, closes the cell and Thompson runs to the edge of the cell and shouts that he did not try to kill anyone. "He tried to kill Mr. Helton. llm not a.murderer." Ellie puts her hand on her husband's shoulder as if to quiet him down, but Thompson ignores her. He turns around, head down, and sits on the bed. TRANSITION The scene is the office of the lawyer. It is a one-room office with scattered books and papers. Burleigh is sitting on a swivel chair, his back to the office. His feet are on the window sill. There is a knock at the door, Burleigh turns around yelling, "Just a second." Thompson walks in and the lawyer's face changes from eager expectation to impatience. He asks Thompson why he is here again. Thompson tries to explain, but the lawyer says that he has been acquitted and asks what he wants donw now. Thompson says that he thought he could talk with him for awhile, since there were things he forgot to tell the lawyer. The lawyer says he is very busy, but Thompson pleads for a chance to talk and the lawyer sits back and half listens. Thompson tells the lawyer that he forgot to tell him that Hatch was such a bad person and exactly how Helton had run out to Hatch. The lawyer interrupts that he has been acquitted and Thompson shouts that he is not a murderer. Burleigh answers that he does not care what Thompson is: 'I've done my job and that was to get you off the hook." He tells the farmer that he is a busy man. The lawyer turns his back on Thompson, who is about to say something, but instead walks very slowly and dejectedly out of the office. END OF ACT II ACT III The scene is the living room of the Thompson home. Mr. and Mrs. Thompson are putting on their coats. Arthur comes in from the porch and asks his father why he has to go see the neighbors, since the eggs have to be brought into town. Thompson loses his temper and tells the boy that someone has to keep up the good name of the family and that the eggs can wait. Thompson is very nervous and shouts at the shell of the woman who is his wife. He tells her to hurry up and asks her what is taking all the time. Ellie hurries and finally she is ready. The couple leave. TIME TRANSITION h? The scene is the front of a broken down old farm house. A rather dirty boy is sitting on the front steps. The sound of a horse and carriage is heard coming to a halt before the house. The boy looks up. Mr. and Mrs. Thompson walk up the over—grown path. The boy sees them and yells, "Hey Pa, here's the man that hilled that Hatch fella!" Thompson stops and then starts again. A sloppy-looking couple come out of the house and walk down the steps. The family stares at Thompson. Thompson shuffles his feet and explains he has come because he had some trouble lately and he did not want the neighbors to misunderstand. The neighboring couple look at each other with a smile crossing the farmer's face. The farmer says that he does not need to be convinced of anything. It is not his business whether Thompson has killed anyone. Thompson explains that Ellie saw everything. Ellie stiffens and agrees. The farmer says that he does not see any reason why he should get mixed up in "murder business." Thompson says that he didn't want anyone to have the wrong ideas and starts to tell the whole story, but he is interrupted by the farmer, who says it was nice of Thompson to take the trouble of straightening out the whole story since they had heard a lot of rumors. Thompson does not pay any attention to what has been said and continues, but the farmer and his wife turn their backs on him and Ellie and go into their home. Only the boy is left and Thompson turns to him and continues saying that he is no murderer. The boy just stares back. Thompson says, "You see, I'm no murderer." Thompson begins to lose control of himself and Ellie stope her husband. Thompson walks back to the wagon muttering to himself. b8 TRANSITION The scene is the bedroom of the Thompson's. It is late at night. Ellie is sleeping. Thompson is still dressed and is gazing out of the window. The wood—pile is silhouetted in the moonlight. Thompson stares at the scene. He lowers his head, turns around and looks at Ellie sleeping. He looks outside again and hears the harmonica tune that Helton used to play and then he sees Helton sitting on one of the stumps playing his harmonica. Thompson begins to mutter to himself and addresses some of his comments to Helton. He lowers his head and looks out again to see no one outside except that the axe is sitting on one of the:stumps. Thompson begins to sweat. He looks out again and sees Hatch sitting out on the woodpile. Hatch keeps saying that no respectable person would let a lunatic in his home and laughs. Thompson once again mutters and talks. He is beginning to lose his self control. He is spellbound by what he sees. A nervous twitch crosses his face and he sees Hatch disappear and lawyer Burleigh appears sitting on the porch. The lawyer mentions that there was not a knife wound on Helton and tells Thompson that he is a reasonable man. Thompson then sees the dirty son of the farming couple walking around yelling, "Hey Pa, here comes the man that killed that Hatch fella!" Thompson begins to sob and looks outside to hear and see Helton playing his tune, Hatch laughing uncontrollably, the lawyer talking, and the neighbors yelling "Murderer! murderer!" The whole group slowly advances toward the porch and Thompson tries verbally to defend himself. 119 He shouts that they are all crazy. He shouts for everything to stop. "I'm not a murderer, stop! stop!" He smashes the window with his hand. Ellie screams. Thompson whirls around to find Ellie hysterical. He rushes over to her bed and comforts her, but she continues to sob hysterically. He calls for Arthur and Herbert, who rush in. Arthur puts a lamp on the table and comforts his mother. He comments that she looks scared to death. Arthur stands up, doubles his fist up and tells his father, "Don't ever touch her again." Thompson tries to say something, but no words come out. The boys look after the mother and Thompson says that he is going to get the doctor and that the boys should look after the mother. He walks out of the room muttering that he never tried to harm Ellie in all his life. The boys watch him go out. Thompson goes into the living room and sits down with a pencil and paper and writes a note. He looks back into the bedroom and walks out, taking the shotgun from its rack in the kitchen. TRANSITION Thompson is sitting outside. His right shoe and sock are off and the shotgun lies on the ground. He picks up the shotgun. He looks toward the house. He slowly places his big toe to the trigger. TRANSITION The boys are still looking after their mother. Ellie is much better now. Arthur tells Herbert to make some coffee. Herbert walks through the living room, he has the lamp in his hands. He notices the 50 note and calls Arthur in alarm. Arthur rushes in, picks up the note and reads it aloud. As he reads the note, Ellie has stood up and is framed in the doorway. "It was Mr. Homer T. Hatch who came to do wrong to a harmless man. He caused all this trouble and he deserved to die, but I am sorry it was me who had to kill him." As Ellie hears this letter, she rushes to the door, but before she gets there the sound of a shotgun is heard. Ellie leans against the door and crumbles to the floor. END OF ACT III CHAPTER V NOON WINE A Play for Television by Gary Gumpert Adapted from the short story by Katherine Anne Porter CAST Olaf Eric Helton Royal Earle Thompson Ellie Thompson Arthur Thompson Herbert Thompson Homer T. Hatch Mr. Burleigh The neighbor's boy The neighboring couple 52 NOON WINE ACT I (IT IS A LONELY SUI‘IIJIER NIGHT IN SOUTH TEXAS. THE ACTION TAKES PLACE AT THE TURN OF ‘ THE CENTURY. ROYAL EARIE THOI‘PSON IS SITTING ON A LOG IN A RATHER BARREN FIELD. THOIVIPSON IS NOT A BIG MAN, ALTHOUGH HE GIVES THE APPEARANCE OF BEING BIG. HE IS A PROUD MAN AND USUALLY NEEDS A SHAVE. HE STARES STRAIGHT MEAD, ALTHOUGH HE ISN'T LOOKING AT ANYTHING. THONPSON IS LEANING ON A SHOTGUN; BOTH OF. HIS HANDS CIENCHING THE BARREIS OF THE GUN. HE SIOWLY, AS IF IN A DAZE, PUTS DOWN THE SHOTGUN: AS IF SOMETHING WERE DRIVING HIT-I, E SIONLY UNTIE‘S HIS RIGHT SHOE, TAKES IT OFF, TAKES OFF HIS SOCK AND PUTS THE SUCK BACK INTO THE SHOE. HE SITS A I'~IOI‘»’H*NT AND THEN PICKS UP THE SHOTGUN AGAIN. HE SETS THE BUTT OF THE SHOTGUN ON THE GROUND, PLACES HIS TOE AGAINST THE TRIGGER. HE LEANS HIS CHIN AGAINST TIE GUN MOUTH . TH OHPS ON SI TS FOR A WHILE GATHERING COURAGE; BEADS OF SWEAT BEGIN TO COVER HIS FACE, TEARS FORCE THEIR WAY INTO HIS EYES AND HE BEGINS TO CRY. HE LIFTS HIS HEAD AND LCI‘JERS IT AGAIN. T‘HONPSON'S BODY HEAVES WITH HIS SOBBING AND HE BREAKS DCMI‘I , LOWERDIG THE GUN .) 53 FADE OUT: FLASHBACK (IT IS EARLY IN THE MORNING AND TWO SI-‘LLLL BOYS SIT IN FRONT OF THEIR FARE-1 HOT-LE. THE YARD IS SURROUNDED BY A BROTGflI-DO‘aN-OLD FENCE AND GATE. THE HOUSE IS A E'JOODEN ONE-STORY HOUSE. IT IS WEATHER BEATEN AND IN NEED OF PAIN TING. THREE SIDES OF THE HOUSE ARE SURROUNDED BY A PORCH. THE BOYS ARE THRONING STOI‘TES AT EACH OTHER. A TALL BJNY MAN WITH FADED OVERaLIS AND SHIRT WALKS THROUGH THE GATE. HE PASSES THE BOYS, 1:JHO SAY HELLO, BUT THE MAN DOESN'T ANSWER. HE WALKS RIGHT UP ON THE PORCH, AS IF HE KNEE-J EXACTLY WHERE HE WAS GOING, AND WALES AROUND TO THE SIDE PORCH WHERE MR. THOI-TPSON IS SITTING ON THE STEPS, DHYDREAIVIIN G, AS HE CI-IUTN‘IS BUTTER. THOI-IPSON IS CHEJING TOBACCO. THE MAN TALKS WITH A SLIGHT SWEDISH ACCENT.) HELION I need work. ’I'HOM’SUN 'th at? HELTON You need a man here? THOI-HDSUN Well, I reckon I do...yeh...what kind of work do ye do? 5‘4 HELTON Any kind THOMPSON Guess I could..Lost a couple of men a little ways back....fight...no good to me. (HELTON DOESN'T SEEM TO FOCUS ON THOMPSON) Well, now you just sit down... (HELTON SITS DOWN ON THE BOTTOM STEP) Strain my neck this way...No sir! Mr. Thompson never's goin' to strain his neck talking to any man. Isn't that right? Where you from? HELTON North Dakota THOMPSON North Dakota...you need work, huh?....Seems to me that's kinda' far off. HELTCN I'm a good worker...I will work cheap. THOMPSON (SPRINGING INTO ACTION) Name's Thompson...Nr. Royal Earle Thompson HELTCN Olaf Helton THOMPSON ‘Well, Helton, how much you fixin' to gouge outa me? (HELTON IS LOOKING AS IF RIGHT THROUGH THOMPSON) HELTON I do good work. Get dollar a day. THOMPSON You fixin' to make a poor man out of me? You ain't goin' to make money like that round here.....Nhat kinda work pays ye that? HELTON kheatfields.....North Dakota THOMPSON This ain't Dakota...we got a dairy farm here. Wife likes cows and calves. She's sorta sickly... so I humored her...Means I sorta have to do things all by myself...with no hired hands. (AS THOMPSON IS TALKDIG, HELTON TAKES OUT A HARMONICA FROM HIS SHIRT POCKET AND PLAYS A RATHER SAD SONG. IIS IS THE "NOON WINE" THEME. THOMPSON STOPS A SECOND AND THEN CONTINUES.) Got two boys...still too young to help...got to wait some. No! can't pay you that....cause I don't make that....;Wife's sorta sick today... we plant a little feed, corn, got some pigs and chicken...mostly cows...you like cows?.... (HELTON DOESN'T ANSWER) I don't....now just speaking as one man to THOICPSON (some) another, there ain't money in it....No, Sir, can't pay you that kind of money....Tell you what I'll do...got your own shed over there. (HE POINTS TO THE SHED ACROSS THE YARD, BUT HELTON DOESN'T LOOK. HE JUST KEEPS PLAYING THE SAT/E TUNE ON THE HADMONICA) So I'll give you seven dollars a month and you get to eat on the same table with us folks.... Pretty good deal if I got to say so myself. HELTON I take it. THOMPSON You take it? ..... Most folks don't seem to get much music out of a harmonica...You do all right.... That's a deal then.....Better not let them boys of mine git their hands on that harmonica...They might git it sorta dirty. (HERE IS AN DOIEDIATE REACTION ON TIDE PART OF HELTON. HE PRESSES THE HARMONICA CLOSE TO HIS BODY AND QUICKLY PLACES IT IN HIS SHIRT POCKET. HE BUTTONS THE FLAP) You can't have nothin' on the place without them little devils gettin' their dirty hands on it. (HELTON IS LOCKING STRAIGHT AT THOMPSON NOW) Arthur's....Arthur's eight and Herbert's five or six... 57 THOMPSON ( comm) But you gotta watch out for the older one... Now, how about you takin' the churn for a while? You know how to take care of butter? HELTON I know the butter business. THOIVTPSC N I'm goin' into town. Couldn't of before...No, Sir...couldn't leave the place all week. ( THOI‘iPSC-N WALKS UN TO THE PORCH AND STARTS TOWARD THE FRONT OF THE HOUSE. HELTON TAKES OVER THE CnURNING.) Where'd you say you worked last? HELTON North Dakota THOI—IPS ON I guess you'll git used to it here. (THOMPSON STARTS AGAIN, BUT STOPS SHORT) You're a forriner, ain't ye? HELTON I am Swedish. THOMPSON Now, how about thatl...You don't get to see many Swedes around here. HELTON That's all right. EIOHPS ON Seems to me, you're practically the first Swede I ever laid eyes on. HELTON (HE LOOKS STRAIGHT AT THOHPSON) That's all right. (THE FARNER HURRIEDLY TVJALI'CS AROIH‘JD TO THE FRONT OF THE HOUSE; OPENS THE DOOR AND ENTERS THE LIVING ROOM. IRS . HOI'LPSON IS I-JORTCIN G IN THE KITCI-EN . SHE IS A SMALL, FRAIL WOMAN AND IS VERY SENSITIVE. THE KITCHEN HAS TWO LARGE WINDOWS FROM WHICH HELTON CAN BE SEEN CHURNING THE BUTTER. THE HIRED Iv’lAN'S SHACK CAN ALSO BE SEEN ACROSS TIE YARD. ONE OF TIE WINDOWS IS OPEN. THOMPSON RUSHES TO HIS WIFE AND DRAGS HER GENTLY BY THE ARM INTO THE LIVING ROOM.) THOMPSON Ellie, I just hired a new man...Swede..... (ELLIE SITS DOWN ON THE COUCH SHOWING NO GREAT REACTION) .....Ellie, he says he knows how to make butter. ELLIE That's good....I hope he can.....I wish my head would stop aching so. THOMPSON Real good deal....only seven dollars a month... but he eats with us...Yes, Sir, you're husband's a real businessman. ELLIE Guess..so...have to set another place at dinner table though. . .If only my head. . . THOMPSON Now you just stop frettin'. I'm goin' into town to fetch us an order of groceries. ELLIE (IQIOE‘IING WHY HE IS GOING TO TOL’JN) For flat? THOMPSON For groceries. ELLIE Now, you don't mean for somethin' to drink? THOMPSON Now a couple of drinks never hurt anybody... Besides I gotta see the town people now and then. ( HE WALKS OUT AS I-TRS. THOMSON YELLS' AFTER HIT-'1.) ELLIE Don't you linger, now, ( THE DOOR STAT-IS) Mr. Thompson! 7h THOMPSON Can't say I do. HATCH Used to have a cousin who settle down around here. THOI-‘IPSON Don't know the Hatches. HATCH Guess you know everybody around. THOI‘TPSON Guess I do...Ny Grampap immigrated here way back in 1836. HATCH From Ireland, I reckon? THOI'TPSON Pennsylvania...what makes you think we come from Ireland? HATCH Nell, I come from Georgia.myself, but what I always say is, a feller's got to come from some- where, ain't he?.. THOMPSON Guess so... ( THOIIIPSON STANDS UP) ...I don't want to hurry you, but if you've come to see me on business maybe we'de better get down to it. 60 (ELLIE GOES BACK INTO THE KITCHEN STRAIGHTENING UP A FEW THII‘TGS. SHE PUTS AWAY SOT-TE POTS AND PANS AND GEIERALIX TIDIES UP. SHE COT-YES BACK INTO‘THE LIVING ROOM AI‘ID LAYS DOWN ON TIE COUCH. AFTER A SHORT TIE-[E SHE FALLS ASLEEP. FADE OUT: —.-.—-*.~—- FADE ng: (ELLIE TJIAKIB UP TO HEP-LR THE SOUND OF A HAM-’IEIICA. IT IS THE "NOON NIT-1E" THERE. SHE LIES TIE'EE WHEN SUDDENLY THE MUSIC STOPS. ELLIE GETS UP AND WALKS INTO THE KITCi-EN; LOOKS OUT OF THE Ifll‘lDONS AND SEES HELTON FURIOUSLY SHAKING FIRST ARTHUR AND THEN HERBERT. HELTON LETS THEE-T GO AND THE BOYS RUN SILENTLY TOWARDS THE PORCH. HRS. THOI‘J%ON HESIT" TES A I--'IO;‘4EI\I T AND OPENS THE DOOR . SHE IS BLDIDED A SECOND, SINCE HE HAS FORCOTTET HER SUNGLASSES. SHE SHADES HER EYES AND WALKS OUT ON TIE PORCH WHERE THE TWO BOYS SIT STRAl‘JGELY QUIET.) I ELLIE What are you boys up to now?. . . .Now you answer your mama when she asks you somethin' . ..Nhat have you boys been up to? IEPEERT Nothin' 61 ELLIE Arthur?...Stop pickin' your nose! ARTHUR we ain't done nothin' ELLIE Iothin', huh...we'11 soon fix that...you boys better do somethin' right away. (SHE MOVES TOWARD THE DOOR, CLES TURIN G FOR THE BOYS TO GO IN AHE‘LD OF HER) Come on...Herbert.'..Arthur! Guess I'll have to put you to work. (THE BOYS SCANPER INTO THE HOUSE, FOLLOWED BY ELLIE. FADE IN: (THE DOOR OPENS AND NR. THOMPSON ENTERS THE LIVING ROOM.) ELLIE It's about time, M". Thompson. THOMPSON STRAIGHTENS HIMSELF UP AND WALKS UP TO ELLIE AND PINCHES HER mam-z) THOMPSON No more meat on.ye than a rabbit...Now I like 'em cornfed. ELLIE You know, sometimes I think you're the evilest- EHIE(HNWD) minded man that ever lived.....how many of them evil drinks did you have? THOMPSON -Now Ellie, you just stop it...had a couple of drinks with the citizens....Gotta let 'em know we're a kickin'. (ELLIE SUDDENLY TURNS HER BACK TO HER HUSBAND AND LOOKS OUT OF THE KITCHEN WINDOW) ELLIE Mr. Thompson? THC'I/fi'ON What the matter now?...Your head hurtin' again? ELLIE ‘No...I...Well, I want you to find out what was the matter this afternoon. THOMPSON How's that? ELLIE The new man and the boys....Think they had a sort of a run-in today...He was shakin' 'em, and shakin' and shakin'...You just better see what the matter is. THOMPSON It's probably them boys. 63 ELLIE You get out there and. find out... THOI-LPSON Them boys are born in trouble. .. (HE STARTS OUT) ...Think wewere raising' a bunch of heathens! (THOI-LPSON FEES AND ELLIE WILLIS OVER TO THE KITCHEN NINDOI-IS, OPENS ONE OF THEII AND CALLS THE BOYS.) ELLIE Arthur”. ..Herbertl'. . ..Get in here”. (SHE STARTS SETTING THE TABLE AND THE BOYS CONE RUNNING INTO THE HOUSE.) HERBERT C-u-d—e d-a—a ARTHUR D—o—o-t-t—s- g-u-d (THEY LAUGH IN DELIGHT AT THEIR NET GATE) 7 ELLIE Stop that silly game and let's wash up for supper. (TIE BOYS RUN TO A PAN OF WATER IN THE SINK. THEY SPLASH WATER ON THEIR HANDS AND FACES, BUT THEY STILL PLAY THEIR :3.) HERBERT Arthur's a S-w—e-o—d—e, Arthur's a S-w-e-e-d-e (HERBERT GIANTS THIS AS ARTHUR ALSO CHAN TS) 6h ARTHUR G-u-d-e-d-a—a...G-u-d-e-d-a-a ELLIE Get those ears clean too...And stop that singin' ...it ain't nice....Stop it! (THE BOYS STOP PLAYING AND WIPE THEIR HANDS ON THEIR PANTS) ELLIE Use that towel!...And don't dirty it all up. (NR. THOMPSON'NALKS IN, HE DOESN'T NOTICE THE BOYS RIGHT AWAY. ELLIE WALKS INTO THE LIVING ROOM. THE BOYS ARE VERY QUIET.) TIICHIIISLAI He says them boys been foolin' with his harmonicas.. You know what them boys did, Ellie?...Them boys snuok into Mr. Helton's Shack and blowed into his hannonicas...They got 'em dirty and all full of spit. ELLIE Did he say all that? DIOI-IPSON That's what he meant, anyhow...He was kinda worked up about it. ELLIE we've just got to tell 'em to stay out of that .man's shack; 65 (THOHPSON NOTICES THE BOYS HUDDLED IN THE KITCHEN) THOMPSON Yes, Sir...I'll tan their hides for them. (HE WALKS INTO THE KITCHEN...THE BOYS TRY TO BACK UP, BUT FIND TI-vaSELVES AGADIST THE WALL.) Jus*L plain ignoramuses...You're both goin' to get sent to school next year...How will you like that? HERBERT I'm goin' to git sent to the 'formatory when I'm old 'nough. I THOMPSON Hho tells you that?! HERBERT ,— :9 (1) Sunday School Teacher. THOI‘LPS ON Ellie! get me the calf rope...I'll break every bone in 'em. ELLIE I think you better leave the whippin' to me... You haven't got a light enough hand for children. THOMPSON Love taps aren't goin' to help then. my dad... he'd hit me with anythin' around...Just depends on what's the nearest. 66 ELLIE They're good boys...You just wait and see... They're good boys...You can depend on 'em. THOI‘IPSON They better stop being so bull-healed and mind you. ELLIE Now, boys, I want you to call Mr. Helton for supper and you be gentlemen about it. (THE BOYS RUN OUT TO THE PORCH) THOMPSON ( ICU T TERITIIG) Them boys! .. .I don't know! ARTHUR AIID IHIRBERT (OFF FRAT‘IE Say, __r_. Helton, you big SI-Jedell...Supper's ready! Supper's ready! TI-IOIIPSON Them boys 'ill be the ruin of me yet“ ELLIE They won't ruin anyone. ..Now stop that kind of talk No, Mr. 'I'I'Iompson, if anyone's goin' to ruin you, it might be some stranger...it might be that evil drinkin'...it's not them boys. I know that!... might even be that man outsid . 67 (’I'HOF-‘ISON LOOKS AT HIS WIFE) ELIOT: OUT ETD OF ACT I A933}. (IT IS NINE YEARS LATER. THIS IS SUPERIMPOSED ON SCIE‘IN. TIE FAMILY HAS JUST FINISHED LUNCH. THE BOYS AND HELTON HAVE LEFT THE DINNER TABLE AND ELLIE HAS BEGUN TO CLEAR THE TABIE. HR. THOMPSON REIAICES IN HIS CHAIR.) THOMPSON Those boys are growing up... ELLIE 'Ne're growing old. THOI-IPSON Guess everybody does....You know, we're doin' all ri ght. (THE SOUND OF TIRE HARIvIONI CA TIE-IE IS 1mm) The farm's lookin' better everyday...You see, Ellie, your husband's done all right for himself...YeS, Sir! ELLIE (AIMOST TO HERSELF) Nine years.. 63 THOMPSON What's that? mm Just thinkin' THOMPSON About what? ELLIE You know its nine years since Mr. Helton came to us...Nine years! THOI-‘IPS OB Seems to me that's a long time...A real long time... qus are grown...Lots of change....Ellie, I bet you couldn't recognize the farm. I've done pretty well. Your husband's an important man. Why only the other day the preacher asked me to become a member of the council...Imagine that! ELLIE You can't be on that council. THOMPSON What?! ELLIE How will it look when Mr. Helton don't attend church. I asked him once and he was just downright uncivil. O\ \o THOHPSCN The way I look at You should have let him alone. it, his religion is his own business...Why bother He's done good work on the about his business? farm...Nore milk, bigrer hogs..You know we're savin' some money...Nhy..Ellie that man's worth his weight in gold. ELLIE I know, but he just can't seem to behave like other people. THOMPSON Some people are funny in their ways. LLIE You'd think he had a grudge against the whole world ...I don't know what to make of it...Nr. Thompson... Did you ever think about the money you pay him?... What's he do with it? It don't matter. ELLIE I just wonder..I don't hold nothin' against him... Hardly ever gets to town, except for marketing... What's he doin' with all that money he's made? THOMPSON I don't know, I don't care...Nhy don't you as? Mr. Helton yourself? 7O ELLIE Ash him?...Nr. Thompson, I'm not denying he's a good worker. ..but as for talking...just plain social life...well, he's just not human. THOI-CPSON Hush now, Ellie...You're always talking. (ARTHUR AND HERBERT RUSH INTO THE ROOM) HERBERT Hey Pop, can we take the rig into town? THOMPSON what 1‘? or? HERBERT Need some more wood for the new corn crib. THOI‘TPSON Well, I don't know... ARTHUR Fir. Helton wants some more feed. THOMPSON Hell, I guess it'll be all right then. (THE BOYS RUSH OUT AND ELLIE SIIOUTS AFTER TIIET-I) ELLIE You boys be careful now...Don't get into any kind of trouble! (SHE TURNS AI'IAY FROM THE DOOR AND LOOKS AT PER HUS BAND) 7l ELLIE (CONT'D) We're gettin' old... .Them boys are really helpin' you out now, ain't they? THOIIPSON We've got a couple of good boys....Seems to me, they must have been born that way. (A SIIILE CROSSES ELLIE'S FACE AS SHE WALKS INTO THE KITCI 3N) I'll be sittin' on the porch. (THOI-IPSON WALKS OUT ON THE PORCH AND STANDS LOOICDI G OUT. ‘ HE SITS DOE-«N ON HIS ROCKING CHAIR. THE SOUND OF A TEAI‘I AND WAGON IS HEARD IN THE DISTANCE. THOI-IPSON LOOKS OUT TO SEE WHO IT IS. THE WAGON COPIES TO A HALT DI FRONT OF THE YARD. A MAN COI-IES THROUGH THE GATE AI-ID WALKS THROUGH THE GATE AND WALKS UP TO THE PORCH STEPS. HIS CIOTHES DO NOT FIT HIM AND HE GIVES THE APPEMTCE OF HAVING ONCE BEEN FAT. HE TAKES OFF HIS HAT, TAPES OUT A DIRTY BANDANA TO WIPE HIS FACE.) HATCH Thompson? Royal Earle Thompson? THOI‘IPSON That's me...Nhat can I do for ye? HATCH It's what I'm gonna do for you...Yeah, I'm goin' to buy that horse of yours. 72 THOMPSON I reckon you're in the wrong place...Don't have a horse for sale. HATCH _Now that's too bad. . - THOIZPSON Usually if I've got anythin' for sale I tell the neighbors and tack up a little sign on the gate. HATCH (UNNATURAL LAUGH) Ha..Ha...Ha... THOMPSON I don't see anythin' funny. HATCH Old joke of mine..ha,..ha... (STILL LAUGHING) ...I've noticed that when a feller srvs he's come to buy somethin' nobody takes him for a suspicious character. THOI-IPS ON I'm never suspicious of-any man..Seems to me that any man's the same, as long as he don't do anythin' funny. HATCH That what I always say, when a.man's actin' funny... 73 HATCH (CODIT'D) Better watch out...He ain't up to no good. (HATCH'S HOOD BECOI’E‘S SERIOUS) I ain't came to bargain about amrthin'...Got somethin' to talk to you about...It won't cost you a cent. THOMPSON I guess that's cheap enough (HE GETS UP) Let's go 'round to the shade..; (THIS IS THE SIDE AWAY FROM THE KITCHEN AND THE HIRED MAN'S SHACK) It's kind of hot out in the sun. (BOTH HEN'HALK TO THE SIDE OF THE HOUSE, NEAR THE HOOD PILE. NEAR.THE WOOD FILE ARE TWO LARGE STUHPS. THOMPSON PULLS OUT AN AXE BURIED IN ONE OF THE STUHPS AND LAYS IT DOWN ON THE GROUND.) THOI'IPS ON Might as well sit down here. (THOMPSON MOTIONS HATCH TO SIT DOWN, BUT INSTEAD THOMPSON FINDS HIMSELF SITTING-AND HATCH PAGES UP AND DOlu-‘N TALICDIC.) HATCH Name's Homer T. Hatch...America's my country... I guess you know the name. HATCH Now, I'm lookin' for a man named Helton, Mr. Olaf Eric Helton...Comes from North Dakota... (THOI-IPSON SITS DOE-IN ) I was told up around the country a ways that I mflfitfhmlfimhae”. THOBHDSON He's... HATCH ( INTERRUPTING) I wouldn't mind, havin' a little talk with him... No, Siree, I wouldn't mind, if it's all the same to you. THOI-ZPS ON (RELUCTANT) Didn't know his middle name...Hr. Helton's been here for nine years, but he's a mighty steady man, and you can tell anybody I said so. HATCH I'm glad to hear that...Like to hear of a Teller mendin' his ways and settlin‘ down. THOMPSON Nendin' what ways? HATCH Now when I knew Helton he was pretty wild, yes, sir, 76 HATCH (CONT'D) wild he was, he didn't know his own mind at all... THell, now, it's goin' to be a great pleasure to meet up with an old friend and find him all settled down and doing well by hisself. THOMPSON If you want to speak to Mr. Helton, I'll go and round him up. HATCH There ain't no special hurry...I've been waitin' a long time. ..A couple of minutes ain't gonna make much difference. THOMPSON Well, he's the kind of man who don't dawdle... Likes to get any business over with right quick like. (THE SOUND OF THE HARMONICA THEME IS HEARD) That's him now. (HATCH LISTENS A HOME-IT) HATCH Know that tune like I know the palm of my own hand. THOI'IPSON I never heard Mr. Helton say what it was. HATCH That's a kind of Scan-dahoovian song. Where I come from they sing it a lot...In North Dakota. It says 77 IMHE(MEWD) somethin‘ about startin' out in the morning feeling so good you can't hardly stand it, so you drink up all your likker before noon. All the likker, y' understand, that you was savin' for the noon lay-off. The words ain't much, but it's a pretty tune. It's kind of a drinkin' song. THOMPSON (SEER-mm ON THE DEFEI-J‘S IVE) He ain't touched a drop since he's been on the place, and that's nine years this comin' September. Yes, sir, nine years...So far as I know, he ain't wetted his whistle once. And that's more than I can say for myself. HATCH A drink's good for a.man, now and then. (HARMONICA TIME DECREASES) THOMPS UN He's been playin' it off and on for nine years right here on the place... HATCH And he was certainly singin' it well, fifteen years before that, in North Dakota when he was in the asylum. . . 78 THOMPSON What you sav? . . .What asylum? HATCH Shucks, I didn't mean to tell you...Shucks, that just happened to slip out. THOMPSON You mean he was-- HATCH Funny, now I'd made up my mind I wouldn't say a word, because it would just make a lot of excitement, and what I say is, if a man has lived harmless and quiet for nine years it don't matter if he is loo y. Does it? 33 long's he keeps ,uiet and don't do nobody harm THONPSON Did they have him in a straitjacket?...l‘n the lunatic asylum? HATCH They sure did. That's right where they had him, from time to time. THOI‘IPS OH They put my Aunt Ida in one of them things in the state asylum. HATCH I just don't like to hear about crazy peOple. THOMPSON She got vi'lent, and they put her in one of these jackets with long sleeves and Aunt Ida got so wild she broke a blood vessel and when they went to look after her she was dead. HATCH Now that's too bad. THOMPSON I'd think one of them.things was dangerous. Hr. Helton used to sing his drinkin' song when he was in a straitjacket...Hothin' ever bothered him, except if you tried to make him t k. That bothered him and he'd get vi'lent, and they'd put him in the jacket. They'd put him in the jacket and go off and leave him, and he's lay there singin' his song. Then one night he disappeared. Nobody ever saw hide or hair of him again...And then I come along and find him here, all settled down and playin' the same song. THOMPSON He never acted crazy to me... HATCH Can't ever tell about those people. 80 THOMPSON He always acted like a sensible man, to me. He never got married, for one thing, and he'works like a horse. And I bet he's got the first cent I paid him when he landed here, and he don't drink, and he never says a word, much less swear, and he don‘t waste time runnin' around Saturday nights, and if he's crazy, why, I think I'll go crazy myself for a change. HATCH, Haw, ha...heh, he, that's good! Ha...heh, he, I hadn't thought of it jes' like that. Yeah, that's right! Let's all go crazy and get rid of our wives and save our money, hey? THOMPSON (mmom ) My wife's a mighty reasonable woman, but I wouldn't answer for what she'd say or do if she found out we'd had a lunatic on the place all this time. HATCH Yer' wife sounds like a purty reasonable woman... (THOMPSON SILENTLY TAKES OUT A PLUG OF TOBACCO AND CUTS HIMSELF A CHEW WITH HIS POCKET KNIFE) THOTJTPSON You want a chew? CO }..J (HATCH TAKES A LOOK.AT THOHPSON'S PLUG) HATCH Haw, I like my leaf dry...Don't go for any of that sweet stuff. (HATCH TAKFS OUT HIS CNN TOBACCO AND CUTS HIMSELF A PLUG WITH A LARGE BOHIE KNIFE. POSSIBLE CLOSE—UP ON KNIFE) THOI‘H’SON A little sweetenin' don't do no harm, so far I'm concerned, but its got to be might little. H.TCH Hot for me. THOT'TSO N But with me, now, I want a strong leaf...I want it heavy-cured. HATCH Well, I always say, one man's meat is another man's poison...Now you see, such a chew would simply gag me...I couldn't begin to put it in my mouth. TI-IOHPS ON When I say heavy-cured, I don't mean too much.) HATCH I like a dry natural chew without any artifical flavorin' of any kind. ThOE-‘ZPS ON Guess each man got his... 82 HATCH Artificial flavorin' is jes' put in to cOver up a cheap leaf and make a man think he's gettin' more than he gettin'...You can mark my words. THOMPSON Always paid a fair price for my plug...I'm not a rich man and I don't go round settin' myself up for one, but I'll say this, when it comes to such things as tobacco, I buy the best on the market. HATCH Sweetenin' even a little is a sign of... THOl-TPSON (DZPATIEN T) About this Mr. Helton now... (THOMPSON STANDS UP, AS IF TO GAIN STRENGTH) I don't see no reason to hold it against a man because he rmnTt loony once or twice in his life- time... HATCH You're perfectly right, there. THOIVTPSON So I don't expect to take no step about it. Not a step. I've got nothin' against the man, he's always treated me fair. You know, there's things and people 'nough to drive any man loony. The wonder 0:) \A) THOMPSON (CONT'D) to me is, more men don't wind up in straitjackets, the way things are goin' these days. HATGI That's right, you took the words right out of my mouth...I always say there ain't every man in a straitjaCket that ought to be there...Haw, ha... ha...You're right, all right...I know you got the idea. (THOMPSON IS BAFFLED AND JUST SIT THERE. HE LOOKS AROUND, HIS EYES HITTING THE GROUND AND NOTICING THE mes.) HATCH And they's some people, would jus' as soon have a loonatic around the house as not, they can't see no difference between them and anybody else. I always say, if that's the way a man feels, don't care who he associates with, why...why that's his business, not mine. I don't wantta have a thing to do with it. Now back home in North Dakota, we don't feel that way. I'd like to a seen anybody hiri g a loonatic there, especially after what he done. THOHPS ON Ain't Georgia your home? CD I: HATCH Got a.married sister in North Dakota...Harried a Swede, but a pretty good man...Got into a little business up around there. THOT-‘TPS ON What did he do? Who? THOHPSON Kr. Helton! HATCH Oh, nothin' to s eak of... THOMPSON I'm askin‘ ye...Nhat he do? HATCH 'Jus' went loony one day in the hayfield and shoved a pitehfork right square through his brother. THOMPSON His brother?!! HATCH They was goin' to execute him, but they found out he had went crazy with the heat, so they put him in the asylum. That's all he done. Nothin' to get lathered up about, haw...ha..ha. (HATCH CUTS HIMSELF ANOTHER PLUG CF TOBACCO) 85 THGHPSON I didn't know he did that. HATCH Right square through his brother. THOI--IPSC~N Somethin' must have drove him to it...Seems to me some men make you feel like givin' 'em a good killin' just by lookin' at 'em...I'll tell you... His brother must have been a mean ornery cuss. HATCH Brother was goin' to get married...used to go courtin' his girl nights, so he borrowed Hr. Helton's harmonica to give her a serenade one evenin' and lost it....Brand new harmonica. THOMPSON He thinks a heap of his harmonicas...Only money he ever spends is to buy new ones. HATCH Brother wouldn't buy him a new one so Helton just ups, as I says, and runs his pitchfork through his brother. New you know he musta been crazy to get all worked up over a little thing like that. THOMPSON Soundslike it. ( 50mm or The HART-EONICA Tame: INCREASES) HATCH Seems to me you'd get pretty sick of hearin' the sane tune year in, year out. THOMPSON Well, sometimes I think it wouldn't do no harm if he learned a new one, but he don't. It's a pretty good tune, though... HATCH New, this Mr. Helton here, like I tell you, he's a dangerous escaped loonatiC. Now, fact is, in the last twelve years or so I musta rounded up twenty- odd escaped loonatics, besides a couple of escaped convicts that I just run into by accident. THOI'E’SON That's your business? HATCH I don't make a business of it, but if there's a reward and there usually is, I get it. (HATCH CATCHES HIHSELF) Fact is, I'm for law and order, I don't like to see lawbreakers and loonatics at large. It just ain't the place for them. New I reckon you're bound to agree with me on that, ain't that right? TTRDIHNSOII Now, what I know of Mr. Helton, he ain't dangerous... As I told you.... 87 IMTQI (HO SS HENACINGLY CLOSE) The law is solidly behind me...Now this Mr. Helton he's been one of my toughest cases. Why I'll tell you, he's kept my record from being practically one hundred percent. THOHPSON How come you come here to look? HATCH Neil, sir, he was gone slick as a whistle, for all we knew the man was as good as dead long while ago, but d'you know what he did? ( no gum-ma) 'Nell, sir, about two weeks ago his old mother gets a letter from him, and what do you reckon she found? THOHPSON Don't know. HATCH Check for eight hundred and fifty dollars; the letter wasn't nothin' much, just said he was sendin' her a few little savings. She might need somethin' ...Name, postmark, date, everythin'...Hr. Helton said he was gettin' along all right, and for her not to tell anybody. THGHPSUN Guess she did. HATCH Nell, natchally, she couldn't keep it to herself, with that check to cash and everythin'. So that's how I come to know...You coulda knocked me down with a feather. (HATCH CHUCICLFS TO HII’SE “. THOF-IPSON TRIES TO CONTROL Hll-TSELF) HICVPSUN Must of been a surprise all right. HATCH Nell, Siree, the more I got to thinkin' about it, the more I just come to the conclusion that I'd better look into the matter a little, and so I talked to the old woman. She's pretty near dead now, half blind and all, but she was all for takin' the first train out and goin' to see her son. I put it up to her square-~how she was too feeble for the trip, and all. So, just as a favor to her, I told her for my expenses I'd come down and see Mr. Helton and bring her back all the news about him. She gave me a new shirt she made herself by hand, and a big Swedish kind of cake to bring to him, but I musta mislaid them along the road HATCH (comm) somewhere. It don't reely matter, though, he prob'ly ain't in any state of mind to appreciate 'em. (moi-ms ON IS swears) ITIOI'TPSCN What are you aimin' to do? (HATCH FEELS THE BACK OF HIS PANTS POCKET) HATQI Well, I come all prepared for a little scuffle... I got handcuffs... THOI-IPSON Handcuffs?ll HATCH But I don't want no violence if I can help it... You can see, I didn't want to say nothin' around the countryside, makin' an uproar...I figured the two of us could overpower him. (HATCH TAT-ES OUT Tm: HANDCUFFS) ‘IHOI'IPSOI‘I (SLOT-III LOO-SING HIS TIE-PER) I think you've got a.mijht sorry job on hand, you sure must be hard up for something' to do. (HE ST BIDS UP) Now, seems to me, I should give a little piece of advice. 9O HATCH I don't need-- THOMPSON You just drop the idea that you're goin' to come here and make trouble for Mr. Helton, and the quicker you drive that rig away from my front gate the better I'll be satisfied. (HATCH PUTS OI-IE HANDCUFF IN HIS OUTSIDE POCI‘ET. THE OTHER DAN GLES OUT AND BE SITS DO-sJN CAII~TLY.) HATCH Now listen just a minute, it ain't reasonable to suppose that a man like yourself is goin' to stand in the way of gettin' an escaped loonatic back to the asylum where he belongs. THOMPSON He don't belong in no loonatic asylum!! HATCH Now I know it's enough to throw you off, comin' sudden like this, but fact is I counted on your. being a respectable man and helpin' me out to see that justice is done. THOI'IPSON I don't see no justicelt HATCi Now a course, if you won't help, I'll have to look HATCH (CCNT'D) around for help somewheres else. It won't look very good to your neighbors that you was harborin' an escaped loonatic, who killed his own brother, and then you refused to give 'im up...Yes, sir, it'll look might funny. THCI-ZPSON But I've been tryin' to tell you all along that the man ain't loony now. He's been perfectly harmless for nine years. He's...lfliy....He's been like one of the family. ( THOI-TPSON MOVES TOEFARD HATCH, BUT HATCH STANDS AND TH Ol-IPSON FINDS HIMSELF RETREATD‘IG) THOMPSON You're crazy; You're the crazy one round herel... You're crazier than he ever was! (STILL PETREATDIG) You get off this place or I'll turn you over to the law!...Get out of here before I knock you down” (I‘LLTCM STEPS BACK) HATCH Try it, try it..go 'headII (HATCH PULLS OUT HIS BONIE P’NIFE. ALL OF A SUDDEl-I HELTON corms Aeemm um comma ON um RUN. HELTON Ger-ms IN Beneath Tim mo ms, HIS FISTS DOUBLES-UP. \‘Q {\J HELTOH STOPS SHORT AND THEN HATCH DRIVES AT H311, KNIFE IN HAI‘ID, HAITDCUFF IN TIE OTHER. HATCH PLLHIGES THE TRUE AT I-ELTOH'S STOI‘IACH.) THOI‘CPSON Noll (THOMPSON SEIZES TIE NEARBY AXE AND BRINGS IT DOI'JN CN HATCH'S HEAD. THOI‘IPSOL‘CI SEES HATCH CRUHBLE TO THE GROUND AND HE TURI‘IS AHAY FROM THE BODY . HE STARES AT THE ATE WHICH HE STILL HAS III HIS HAHN. HELTON IS NOT SEEN.) THOMPSON Ellie!!...EllieI! (THOI-IPSON STARES AT THE BODY AS ELLIE RUNS AROUND THE SIDE OF TIE PORCH) THOMPSON He killed Mr. Heltonl...I had to knock him out!” I had. to knock him out! (ELLIE LOOTB OUT AND SEES HELTON RUHI‘IING AWAY) ELLIE That's Helton runnin' in the field! (THOMPSON STARES TOI'JARD THE FIELD DI M-‘LAZELEJT. ELLIE RUNS DOe'sN FROI-I THE PORCH, LOOKS AT THE BODY OF HATCH AI‘ID FAIH TS . THOI—-?SOI\I STANDS (LIKE AN AUTOI‘E‘LTON AND STILL HOLDS THE AXE IN HIS HANDS.) FADE OUT ‘EHD OF ACT II \0 Lu ACT III (THE SCENE IS THE OFFICE OF THE LAWYER. THE OFFICE IS ONE RCX‘M WITH A DESK. BOOKS AND PAPERS ARE SCATTERED ALL OVER THE DESK. BURLEIGH IS SITTING ON A SWIVEL CHAIR, HIS BACK TO THE OFFICE. HE IS LOO KIN G OUT OF 1% HIT-DOW. HIS FEET ARE ON THE WINDOH SILL. THERE IS A KNOCK AT THE DOOR. BURLEIGH TURNS mom-m.) BURLEIGH Just a second! (HE FIXES HIS TIE AND STRAIGHTEHS UP HIS DESK. THERE IS ANOTHER 19100}: ON THE DOOR.) BURLEIGH Come in! (THOMPSON WALKS IN AND THE LAHYR' S FACE CHANGES FROM EAGER E? ROTATION TO IMPATIENCE. THE LAE ER HAS STOOD UP, BUT SITS DOHH'WHEN HE SEES WHO IT IS.) T'i’OE-EPS UN - Mr. Burleigh, I just wanted... BURLEIGH Mr. Thompson, I'm a busy man...Now why don't you just come some other time.‘ THOI'IEPSON I thought you might give me a couple of minutes. 9h BURLEIGH Now, Mr. Thompson, you're a reasonable man-- THO I TPS ON I hate botherin' you again, but it seems to me there's a couple of things I should of told you. BURLEIGH No, you've said everything...How you just take it easy.for a while...seeing that You're acquitted now. You relax. Stop back and see me in a couple of weeks. THOMPSON Can't do that...I got to see you now...Got to let you know some things. BURLEIGH what do you want me to do now? THOI‘EPSON Nothin'...I justwant you to listen. You're a gentleman.. A man's got the right to discuss matters with another man. Now you gotta know all these things. BURLEIGH All right, Thompson, but make it short. I'm expecting a client. TI-IOICPSOI‘J Now this Hatch fella...I forgot to tell you what TI-IOT-‘LPS OH ( COHT' D) a bad person he was...If I've seen an eviler man... I would have noticed. Ellie's always sayin' how I can judge people...Can tell you right away, he was mean. He don't look you right square in the face. You know why? BURLEIGH Thompson-- THOIH’SON' Cause he had the devil in 'im. I know right away he wasn't up to no good...Why should of seen 'im, walkin' sneaky-eyed and pretending he was gonna buy a horse...Playin' round with that knife...I tell you Mr. Helton didn't have a chance...not a chance... all that blood an' everthin',...Hatch made a pass at Mr. Helton with the knife...I saw the knife plunge unto... EHIHIASIIHI ( IHTERRUPTIZ-I G) Hatch didn't kill Helton! THOMPSON (SHOUTIHG) He did!...He did! . w ‘ - BU RLEIGH There wasn't a knife wound on him. 96 TI 1021 JSON Helton's dead3! BURLEIGH (IRRITATED) Yes, he's dead!, but Hatch didn't do it...Your man, Helton, died of wounds suffered in his capture by the sheriff....Thompson, once and for all, get this straight; there wasn't a knife wound on him. THOF-TPSON I tried to help..tried to save Hr. Helton...didn't have a chance...I always say, you can tell by a man's eyes what he's plannin' to do.. Like I tell you I'm a pretty good judge of people...Like I knew right aw v you was all right...jus' seein' you walk. Yes, sir...Hatch was bad, real bad... BURLEIGH All right, Hatch was bad. Are you finished? What do you want? It was an open and shut case if I ever had one...self defense and trespassing... You're acquitted, free, you're—- THOHPSON (INTERRUPTING) It ain't trespassin!!..It ain't self defense!... I was trying to save Hr. Helton. He shouldn't v 1'. have done that to Ir. Helton, Hr. Helton didn't 97 TH ‘ETPSON (CONT'D) have a chance...Didn't do nobody harm. Why you should have seen that man work..Let me tell you...-- BURLEIGH Thompson! THOMPSON . . .He worked real. .—- BUZHEIGH , Thompson!! THOMPSON ...He was a good..... (THOE‘ :PS ow STOPS) BURL.IGI You're acquitted! . . .you hear? . . .You're acquitted! ....I can't do any more!...I-Iow you can see I'm a busy man. . .Goodtiay, Ifr. Thompson! (BTHlLFJIGZ-I SITS DOT-AI AND STARTS SIFTII-JG THROUGH sexes Hams) THOZ-EPSOH Z-Jhy didn't you let me talk?. . {why didn't you let me say what I had to say? BURLEIGI—I (HOT LOOP-SING UP) You're not in jail. THOTPSON I could just as well be...I don't want people lookin' at me with their eyes sayin' , you're a killer, you're a murderer. ..I didn't mean anybody harm. . .I tried to help. . . (NOT LOOHNG UP) You've killed a man. . .You've been acquitted. . . Goodday, Thompson. THOI-IPSON You don't believe me, do you? BURLEIGH (LDOBEI G UP) Good day, Thompson! (BURLEIGH SI'J’INGS AROUND ON HIS SE'JIVEL CHAIR, TURNS HIS BACK TO THOICPSON.) THOHPSON You're not... ( THOF'PSOI‘J TURNS AND VERY SLONIX AND DEJE CTEDLY WALES OUT OF THE OFFICE. IE DOESN'T BOTHER TO CLOSE THE DOOR 332mm 1m.) Tm (THE SCEIE IS 'I‘hE FRONT OF A BROI'H‘I DOLE-I OLD FARI'I HOUSE. THE YARD IS DIRTY, STRUT-TN WITH GARE‘AGE AND IEEDS . A LITTLE-J BOY, RATHER DIRTY AND BAREFDOTED, LEILT‘IS AGAINST THE FEE-ICE. HE IS PLAYE‘IG A CLASH: BY RUTI‘I‘II‘IG AION G THE FEE-ICE AND HANGING A STICK AGAINST THE POST". THE SOUND OF A HORSE AND CARRIAGE IS HEART) AND ATTRACTS TIE BOY'S ATTENTION. TI—IE CARRIAGE COLD-SS TO A HALT BEFOPJS THE HOUSE. 17R. AND IRS. THOMPSOE‘I WALK UP TOE-MES THE GATE. THE BOY RE COGNIZES THEE-i AIR) TURNS RLDINING TCX-JARD THE HOUSE.) BOY Hemmer, Popper, come out hyah. That man that kilt Hr. Hatch has come ter see yer! (BY THIS TILE THE THOI-ZPSONS ARE NANCE-1G UP HIE DD - GROWN PATH AND THOI/IPSON STIFFENS, STOPS SUDDENIY AND THEN STARTS aca IN .) THOMPSON Like to see yer folks, boy. (A SIOPPY—LOOI'QII‘JG COUPLE COIIE OUT OF THE HOUSE. {E THIN WALI‘IS DOE‘JH THE STEPS AND THE I-JOIIAN LILIN S AGAINST THE DOOR. SHE STARES AT HRS . THOI-EPSON . THE BOY SITS DOM-I ON THE BOTTOM OF THE STEPS.) Folks been talkin' as you've been visitin' .. . Sort Of been expectin' ye. (THOI’EPSON SIHJFFLEJS HIS FELT, LOCI-TS DOWN AT THE GR OUT-1D ) IOO THOI‘IPSOH Nell, as I reckon you happen to Imow, I've had some strange troubles lately, and, as the feller says, it's not the kind of trouble that happens to a man evemrday in the year, and there's some- things I don't want no misunderstandin' about in the neighbor's mind, 30.. Well I ... (THCI-TPSON DOEN' T IOJOL'J WHAT TO SAY NEXT. THE COUPLE JUST STARE AT T'I-IOI'~'LPSOI\I AND A SLIGHT SMIIE 4 CROSSES TIE FAHIIRS EYES A" HE ’ OE“ AT HIS TJIEE. STE RETURNS TIE GII‘JJCE. THOMPSON SEES NEAT HAS PASSED.) Hy wiz" e will tell you. .. (‘IHOIZPSON GEE-ICES AT HIS I'JIFE. SIZE S" NLY SHUFELI’ZS TOWARD THOI-IPS OH .) Ask my wife, she won't lie...She won't lie... Tell 'em Ellie. It's true, I saw it... FARHER Nell, now, that's too bad. Nell, now, I cain't see what we've got to do with all this here, however. I can't see no good reason for us to git mixed up in these murder matters, I shore cain't. Which ever way you look at it, it ain't none of my business. THO? SO} I wan ed to tell... However, it's might nice of you-all to come around and give us the straight of it, fur we've heerl some might queer yarns about it, mighty queer. You couldn't hardly make head ner tail of it. (THE FARE-FIG rm CO‘FS DOT'H‘I A STEP AID SHOUTS IN A SHRILL VOICE.) Ti WI 1.. vaybody goin' round shootin' they heads off... Now we don't hold with killin'; the bible says-- IHEEEER Shet yer trap and keep it shet'r I'll shet it fer yerll (Ti—IE mm GETS BACK AGAEJST T173 Decatur) Now it shore looks like to me...-- 'I'HOEEPSON Now I didn't want you to get the wrong ideas, cause you gotta see what happened...It wasn't my fault...This Hatch feller, he comes-- IUEESIR Say, Thompson, seein' as you'll probably get to the next farm soon, I Was wonderin' whether you could ask McClellan whether he could spare a bit 102 FLTUER (cowT'D) more of that fertilizer...I mean, seein' as you're headed. that way. . . . 'I‘E-IOI-QDSOI‘I (IRRITATFID) I ain't headed no wayuizlhere did ye get that idea? METER We sortta figgjered" TI-iOI-ZPS ON I come to see ye' for a man—to—man chat, that's all...neighbors gotta get together. FARE-ER (ABRUPT) We're kindda busy right now. 'I'IICIIPSOI.T I only wanted to explain. ..Helton was a good man. I always said, Swedes are good people...see, Helton was a Swede. Now, I didn't hold that against him. No, sir, he was the best hired man we ever had... (TIE FARIZEIR TURI'IS HIS BACK ON THOMPSON AND WALKS UP TILE STEPS MID PUSIDCS HID WIFE INTO THE HOUSE. 'l‘ILIOI-‘ZPSON I-IOTIOI‘IS AS IF TO FOLLOW, BUT HIS WIFE HOLDS HIM BACK. 'IIIOITPSON NOTICES TIE BOY AND cormzms SPEAKING, BUT NCJ TO THE BOY.) \ 103 THOMPSON ( CONT' D) A man's got to stand up in front of his neighbor and look 'im right square in the face...Now that makes sense don't it...You gotta have trust, You gotta have respect. . .—- (TEE SOUND OF IAUGHTEIR IS HEARD FROM WITHIN ([le HOUSE.) Just 10ch at me.. .see, I'm no murderer... (MORE LAUGI-ITER IS FROM NITHII‘I AND THE BOY JUST sums AT THOI'IZPSON.) Look at my face...You can see...I ain't no killer” I didn't mean it!!! (ELLIE PUTS BER HAND ON D-IOI-iPSCI‘I'S A; ”I MID START TO LED) HIM mm.) ELLIE (GENTLY) Don't you worry, Mr. Thompson. (TI-IE SOUND OF LIIUGHTER IS mm ONCE I-IOEE.) Don't you worry.... (THOMPSON WILLIS TO THE CARRMGE STILL MUTTERII‘IG AND LED BY ELLIE.) TIBELQUI (TIE SCEI-IE IS THE BEDRCUM OF THE THOI-l'PSONS. IT IS LATE AT NIGHT. THE ROOM IS DIIRK AND ELLIE IS 10h SLEEPDIG. THCE‘E’SON IS STILL DRESSED, SITS ON A ROCKING CHAIR AND GAZES OUT OF THE FREEDOM. THE WOOD-FILE IS SIIHOUET‘I’ED IN THE MOONLIGHT. THOIIPSON IS STARDIG AT THE SCEEWIE HE LONERS HIS IEI-LD, TURNS AROUIH) AND LOOKS AT ELLIE SLEEPDIG. ALL OF A SUDDEN THE "I'IOOI-I NINE" HARMONICA TIE-E IS I-HEARD AND THOI-IPSOI‘I SEES I—IELTON SITTING ON ONE OF THE ’ REE STUIIPS PLAYING HIS HARMCIIICA. THOIIPSON NUT IEIS IN UNBELIEF.) HELTON (ON FILTER) I'm a good worker...I work cheap. (THE HARMONICA CONTINUES THROUGHOUT THE SCENE) THOI‘IIPSON Heltonhl tried to help...Tell 'em...They don't believe me. HELTCN (ON FILTER) Nheatfield. . .North Dakota 'IHOI‘IPSCN He had a knife in his hands...I saw it...You know. (IELTON DISAPPEARS , BUT THE HAM-IONICA ‘I'HI'Z‘IE CON T INUES . ) Heltonll ( THONPS ON LOOKS AROUND, GRIPPIN G THE ARMS OF HIS CHAIR TIGHTLY. HE LOOKS OUTSIDE AGAIN. THERE IS NO ONE OUTSIDE EXCEPT THAT AN AJ'I'E IS BURIED IN OIIE 105 OF THE STUHPS. THOIIPSCN BEGINS TO Sir-EAT. IE WIPES HIS BROW AND NOW HE SEES HATCH SITTING OUT ON ONE OF THE STUHPS. HATCH HAS A LARGE AND EXAGGERATED BOHIE KNIFE IN HIS HANDS. HE IS CUTTING HIMSELF A CHEN'OF TOBACCO. HATCH IS LIIUGHING UNCONI‘ROLIABLY. ) HATCH (ON FILTER) ha. . . .ha. . .ha. . .ha. . . .ha. . . .you know that no respectable person would let a loonatic in his home . . .ha. . .ha. . .ha. . .ha. . . .Just don' t like to hear about crazy people....ha...ha...ha...ha...ha... Loonatic...Loonatic...Loonatic. (THOMPSON IS ALMOST SPELLBOUND BY WHAT HE SEES. A NERVOUS TWITCH CROSSES HIS FACE AND HE BITE HIS LIP EVERY NON AND THEN. HATCH DISAPPEARS AND EITHER BURLEIGH AI’PEMLS SITTING ON TIE PORCH RAILING.) BURLEIGH (on FILTER) There wasn't a knife wound on him...Now you're a reasonable man, Thompson. (BURLEIGH DISABPEARS AND THOHBSON RUBS HIS FACE WITH HIS HIE‘IDS. ALL OF A SUDDEN HE I‘I'EJLRS THE FARM BOY YELLING. HE LOOKS OUT.) FARM BO’I (ON FILTER) Hey Homer, Popper, come out hyah. That man that FARM BOY (COI-IT'D ON FILTER) kilt Mr. Hatch has come ter see yer!....He kilt 'im!...He kilt ‘im...Hilt1!!...KiltllI (THE FARM COUPLI: ARE N ON ALSO OUTS IDE) FARM COUPLE (ON FILTEL) Ha...ha...ha...ha.. (THOMPSON BEGINS TO SOB AS THE VOICES GET IDUDER. TILE HAIHvICX-IICA TIFF-E ALSO GRADUALLY INCREASES IN VOLUME. THOMPSON LOOKS OUTSIDE AGAIN AND SEES HELTON PLAYING HIS HARMONICA AS HE SITS ON ONT OF THE STUIR>S. HATCH IS STANDING IN FRONT OF TIE POR C11 LAUGH TNG UNCONTROLLABLY. III: IAIYWER IS SITTING ON THE PORCH RAILING. THE FINN-I BOY IS RUNNING UP AND DOT-IN THE YARD AND THE FARM COUPLE STAND IN THE MIDDLE OF THE YARD.) NJRLRIGH (ON FILTFR) You're a reasonable man.... (THE ENTIRE GROUP SHOUTS AT THOMPSON. THE GROUP SLONLI ADVANCES TOIIARD THE PORCH . THE HART-TONI CA THEN: AND THE BABBLE OF THE ENTIRE GROUP IS RISING TO A CRESCENDO.) ENTIRE GROUP (ON FILTER) HUrdererll...Kiltll... (HATCI-I' S LDCIITER AND THE IULRNONICA TUTTI: CONTINUE. You're a reasonable manl!...MUrderer!!... IO 7 THOT-IPSON top......3top...... (TIE GROUP ADVANCIJS) You're crazy! ! . . . Crazy! ! . . .I'm not a murderer! ! . . . I'm not! . . .I-Iot! !! (THOMPSON PICKS UP A FLOI‘JER POT FROI-I CITE WINDOII SILL AND HURTS IT THROUGH THE WI‘DUDOW. AS TEIE GLASS Sl-MSHES A SCREAM IS HEARD AND UTTFIR SILENCE FOLLOI'JS FOR A SECOND. TIE FIGURES HAVE DISAPPEI'LREH). TEEN THE SOUND OF SOBBITI-I G IS IEARD. THOI-«EPSOI‘I WHIRLS AROUND TO FIND ELLIE SOBBING HYSTERICAIJAY. THOMPSON STANDS UI-IABLET; TO HO‘ Lu. THE SOUI‘ID OF NOISE IN THE LEiT ROOM IS IEARD AND ARTHUR AND IERBERT RUSH IN III TH A LAI‘IP .) THCMPS ON Your mother” (THE BOYS P SH OVER. TO THEIR MOTHER) HEELBL‘ RT liazmna, marma. . . ARTE-{UR She's scared...She scared to death... (IE RUNS IN A RAGE OVEN TO HIS FATIER) What did you do to her? You touch her again and I'll kill you! 108 PJIaImna. ..I-"Iamma, don't die. ARTHUR (TO THOMPSON) Get out” (ELLIE IS MUCH QUIETER NOW) THOMPSON I'll go for the doctor. (HE STARTS TO EXIT) Don't you get any notions in your head. I never did your mother any harm in my life, on purpose. . ...You'll know how to look after her. (THOMPSON WALKS IN TO THE LIVING ROOM AND LIGHTS THE LAMP AFTER A FEW UNSUCCESSFUL TRIES. E TAKES A PENCIL AND A SCRAP OF PAPER FROM A SIDE SHELF. IE SITS DOE-IN AND WRITES A NOTE. TIBOUGH THE DOORNAY THE BOYS CAN BE SEEN ATTENDING 'I‘HEIR MOTHER. POSSIBLE CUTTING BEE'IIEN ROOITS. THOMPSON FINISIFS HIS NOTES AND WALKS OUT TO TIE I'CITCIEN NI-IFRE IE OPENS UP A CUPBOARD AND TAIES OUT ODE OF A FBI-I SHOTGUNS. m I‘IALKS BACK INTO THE LIVING ROOM, HFSITA'IES A HOE-UNIT. IE FEES DITO TIE BEDROOII’I AND THEN WALKS OUT ONTO TIE PORCH.) FADE OUT FADE DI (TIIOI I'PSON IS SITTING IN THE FIELD AS III THE OPE HIN- IIIG SCIEIII‘E. HIS RIGHT SHOE AND SUCK ARE OFF AND THE SHCTGUN LIES ON THE GROUI-ID. THOI-IPSCN HAS COVERED HIS FACE WITH HIS HANDS, BUT NOW RAISES HIS HEAD, PICI’S UP THE GUN AND IOOHS TO'IIARD THE HOUSE. HE PLACES HIS BIG TOE ON THE TRIGER. CUT TO THE ETJHOCI—I HERE“ _ IE BCYS AI? STILL LCOT ETC nun—w - -— — Ar T'fR T1137 SIR I'OTV'I ilfiBERT IS RUBBITIG HIS ggmm's HANDS.) ELLIE (3“ «'u LI-ZLY) I'm all right. ARTHUR You not someof the. ammonia in the kitchen. HERBERT NALICS THROUGH TIE LIVING ROOM. AS HE PASSES TIE TABLE E NOTICES TIE NOTE III-ID READS SOIJE OF IT.) HEPJIIIIT Arthurl! (Aim-I‘m RUSI-ES III, TAPES TIE NOTE AND REIDS IT.) ARTHUR Before Almighty God; the great'judge of all before who I am about to appear. I do hereby solemlly IIO ARTHUR (comm) swear that I did not take the life of Mr. Homer T. Hatch on purpose. (ELLIE HAS MADE HER WAY TO THE BEDROOM DOORHAY. THE BOYS HAVE NOT NOTICED HER.) This is the only way I can prove I am not a cold blooded murderer like everybody seems to think... Royal Earl-— ELLIE (SCREHQIUTG) Mr. Thompson!!! (SHE RUSHES TO THE DOOR, BUT LFORE SHE BEACHES IT THE SOUND OF A SAOTGUN IS HEARD. SHE TEENS AGADIST ma DOOR 1.14:) cam-Bus T0 In? FLOOR.) FADE OUT END OF ACT III CHAPTER VI THE PROBLEMS INVOLVED IN WRITING THE ADAPTATION The task of turning "Noon Wine" from a work of fiction into a television play required the translation, rather than the changing, of the theme, plot, and characterization of this short story. A Multi-level Play The writing of the play had to be considered on two levels: the communication of theme and the communication of illustrative action. It would have been possible to write two separate plays called Egon Hing. The first play could have been a dramatization of the story line of "Noon Wine" and would have resulted in an episodic action play. The second play'might have been based upon the thematic treatment of the problem Miss Porter discusses in her short story. The play finally written is a compromise between the two extremes of treatment. The television play Egon fling is a synthesis of story line and theme understandable on both levels. There is also a third level of under~ standing and this could be called the symbolic level. The first level deals with the story of a man who kills with the intention of saving another man. The second level suggests the theme that the inherent goodness of man is often mistaken for evil. The symbolic meaning of the play deals with a combat between good and evil and the resultant banishment of man from "paradise." lll 112 Time and Condensation In writing the hour television adaptation of "Moon Wine" the problem of condensation was anticipated. The plot derived in the scenario does not, however, seem to be a condensation. Since plot is the arrangement and amplification of story suitable to the dramatic intentions of the playwright,1 the scenario to Egoanine is more of an arrangement, even expansion, than a condensation. Examples of this expansion are the amplification of certain of Miss Porter's scenes in the play. Lawyer Burleigh and the neighboring farm family receive more emphasis in the play than they do in the short story. The Flashback Technique The hour television play requires economy of expoSition and thus it was necessary to suggest through illustrative action emotions and situations rather than literally dramatizing Miss Porter's short story. 'Not only was it necessary to adapt a short story, but it was also necessary to adapt a literary technique to a dramatic medium. An example of this is the comparison of the way Miss Porter shows Mr. Thompson's striving to be believed by his neighbors and the method used for the television play. Miss Porter has created a series of literary montages where either through the author's description, the character's thoughts, or small dialogue scenes, she tells or shows W"— l , Marian Gallaway, Constructing A Play (New York: Prentice-Hall Inc., 1950), p. 122. hr. Thompson visiting the various neighbors. In one stance Miss Porter uses dialogue: 'I guess you saw the Mannings then,‘ said Herbert. 'Yes and the Allbrights, and that new family McClella..'2 Miss Porter then uses the technique of a literary flashback to illustrate some of the scenes. The last straw had been laid on today, Mr. Thompson decided. Tom Allbright, an old beau of E11ie's........He had looked past them with an embarrassed frown on his face, telling them his wife's sister was there with a raft of young ones, and the house 3 was pretty full and everything upse t, or he'd s: t}1rn to come in.” In the television play Mr. Thompson only visits one farm house which is but briefly mentioned by Miss Porter but which is expanded in the play. It was therefore necessary that this scene not only illustrate a situation and emotion, but become symbolic of all the other neighbors the Thompsons visited. Since one of the criteria for the television play is economy of exposition due to the limitation of time, it was found necessary to capture as much of the intensity of the story in the first act as pos- sible. The use of the flashback technique was decided upon for several reasons. One of the reasons was that it was felt that the scene of Thompson contemplating suicide would act as a frame of reference if the -i, play would flashback -rom this point. This scene would also quickly capture the interest of the television viewer. 2Iatherine Anne Porter, "Noon Wine, " Pal9_ Horse, Pale Rider (New York: Random House Publishers, 1939), p. 150. h 31bid., p. 165. 1111,, There seems to be a definite relationship between the flashback technique used in the television play and the story written by Miss Porter. She also uses the flashback technique, but only after Thompson has killed Hatch. The reflective quality of Miss Porter's writing, her strong interest and concern for the past, makes good use of the flashback technique. Here is another illustration of the literary flashback. Mr. Thompson, turned on his bed, figured that he had done all he could, he'd just try to let the matter rest from now on. His lawyer, hr. Burleigh, had told h'm right at the beginning, 'Now you keep calm and collected'... Thompson then continues to think in terms of the past of what has happened. This technique provides a causal relatiOnship for every facet of the story. Literal transference of this technique was, however, considered unacceptable for the play because the various flashback scenes would not fit the controlling factors of live tele- vision. Although the causal relationshi, was considered important, the controlling factors of time, make-up ani costume change , and scene changes present their problems. Through the technique of the flashback Miss Porter uses consecu- tive scenes which would have been very difficult to do on live tele— vision. For example, here is a series of consecutive scenes from the short story which would be difficult to do on television. 1. Mr. Thompson thinking in bed. 2. Lawyer Burleigh talking to Thompson. 'w—w “- -~" bl , fiwgy,p.lflk —— ~=—_ 3. Mr. Hatch's body being covered and Thompson getting the sheriff. h. The trial. 5. Thompson's visit to the lawyer's office. 6. The visit to the neighbors. 7. A supper scene. 8. A nightmare scene. It would have been quite impossible to proiuce a play using these consecutive scenes in terms of flashbacks and flaShbacks within flash— backs. Not only was it impossible because of the controlling factor of live television, but it was also impossible in terms of unity of dramatic action. The solution arrived at was to frame the entire play within a flashback, thus creating a clearly progressive unit of action which would still preserve the causal relationship and motivation within the play. Structure The scenario was divided into three acts. The first act was used to establish the situation and to provide the necessary exposition. The second act provided the necessary foreshadowing, complication and major crises. The third act provides the major clim t and resolution of the play. The Scenario and Play There are differences between the scenario and the play. Except for minor differences Act One has not been changed. Acts Two and Three 116 received certain changes. Act Two in the scenario begins after a span of nine years and the family having just finished lunch. Thompson kills Hatch at the end of the first scene and the second scene is a jail scene where Thompson meets Lawyer Burleigh. The third scene of Act Two consists of Thompson visiting the lawyer after Thompson's acquittal. The scenario for Act Three included a short first scene to point up the disintegration of the family and Thompson's visits to his neighbors. Scene two consisted of one of these visits and scene three includes the nightmare scene. This scene brings the play out of the flashback, into the present, and ends with Thompson's suicide. For the television play scene two of Act Three was incorporated into scene three and thus Thompson's murder of Hatch became the end of Act Two. Hatch's murder provides a.major crisis and minor climax upon which to end this act. The double function of crisis and climax is possible because by definition, Crisis differs from climax in that crisis always implies something unfinished, while climax is the satisfaction accompanying something finished, settled, restored to equilib- rium and harmony.5 The end of this act is a minor climax. There is a release of emotional tension when Hatch is killed by Thompson. t is also a crisis because it is the high point of tension and the critical point in the fate of Rdyal Earle Thompson. Act Three then begins with Thompson entering the lawyer's office and shows the viewer that Thompson has been acquitted, but that he is ——— SMarian Gallaway,_§pnstructing a Play (New YorL: Prentice-Hall Inc., 1950), p. 212. 117 not satisfied with the situation. A type of suspense is, therefore, created by bringing Thompson‘s freedom from guilt almost within reach. The sce nario‘ 5 second scene of Act Two was cut out because its function was incorpora ed into the firs t scene of the third act. The lawyer scene took on the function by foreshadowing and reinforcing the futility of Thompson's striving and desire for a clear conscience. Scene Two of the television play's third act then became the Thompsons' visit to the neighbors and scene three remained the nightmare scene. The Growth of Conflict The play Noon Wine has a conflict based on ideas rather than action. All the action within the play is motivated by the clash of ideas rather than by physical action. The murder which Thompson commits is based upon the clash between good and evil. The nightmare scene is motivated by the frustration and self guilt which Thompson possesses. It was, however, necessary to demonstrate ideas and emotions through illustrative action. What is illustrative action? It is the demonstra- tion of emotion and idea. The question should then be asked, what is the relationship of illustrative action to dramatic action9 The first is the essence of the second. A dramatic epis de presents an indiviclual or group of individuals so moved as to stir an audience to responsive emotion. Illustrative action by each person in the group or by the group as a whole is basal. 63 6George Pierce Baker, Dramatic Techn:ique Flew York: Houghton Mifflin Company,l 9h7), p. o6— 1..) H CO The Translation of Fiction In Miss Porter's short story illustrative action is sometimes based upon the author's own narration, the character's thoughts and in dialogue and action. It was, therefore, necessary to show dramatically what Miss Porter has said through thought and narration. For example, Miss Porter says, "Mr. Helton was the hope and prop of the family."7 Since the idea was an important one, it was necessary to translate this thought into dramatic form. Thompson's trust and dependence on Helton is shown in the following excerpt'from Act Three, scene one of the play. (ARTHUR.AND HERBERT RUSH INTO THE ROOM) HERBERT Hey Pop, can we take the rig into town? THOMPSON What for? HERBER Need some more wood for the new corn crib. THOMPSON well, I don't know... ARTHUR Mr. Helton wants some more feed. THOMPSON well, I guess it'll be all right then. ( THE BOYS RUSH OUT) 7Katherine Anne Porter, pp. cit., p. 127. 119 The Intimacy of Noon Wine E929.E129 is an intimate play since it is based upon particular ideas of the lives of average people. The emotions examined are microscopic except that they have been magnified. The play may be broad in significance, but it is not panoramic in sc0pe. It is hoped that Eflflfllfliflfi can be considered as an enlarged slice of life rather than a spectacle. Identification The time limitation of television required the playwright to have the principal characters set the situation as soon as possible. The (situation was visually set by the scene of Thompson contemplating suicide. This opening scene should result in an empathic response by the viewer. The relatively small cast made it possible to give each character identifiable traits which should aid in creating empathy. In molding the character of the individuals in the play it was felt necessary that each person's character would have two facets; an individualistic personality trait and a generally symbolic trait. Royal Earle Thompson Mr. Thompson's most important personality trait is his false sense of pride and dignity, supplemented by his basic goodness. He symbolizes the inherent frustration of man in his search for understanding. 120 Ellie Thompson Mrs. Thompson's main characteristic is her essential sensitivity in her weakness. She symbolizes woman's paradoxical combination of strength and weakness. Olaf Eric Helton Helton's personality consists of a lack of personality. He is devoid of all passion and temperament except When his harmonicas are touched. Symbolically he represents the victim of the persecution of man. Homer T. Hatch Hatch is a prejudice and ruthless money-hungry individual. As a symbol he is the personification of evil. Lawyer Burleigh Burleigh is a man without a heart. He is insensitive to the problems of his clients and his only concern is his correct and success- ful legal function as a lawyer. Burleigh represents the status quo of society. The rest of the characters serve the function of demonstrating the disintegration of Thompson. I The personality traits of the characters should readily be communi~ cated to the viewer, but understanding of the symbolic traits can only result through an emphathic response on the part of the viewer. CELQP’I'ER VII SUT"H‘-'ARY Al».T D CCI‘ICLUS ICI‘IS Summary The nature of this thesis required the following of certain pro- cedural steps. First it was recognized that television was in need of dramatic material. Next, the criteria and limitations of the television medium were sought. 'With these standards once established, one of Katherine Anne Porter's short stories, "Noon Wine," was chosen and analyzed for possible television adaptation. A story line was abstracted and a scenario for a television play was developed. The play was written and the writing problems discussed. Conclusions This study attempted to discover the answers to the following specific questions regarding the adaptation of a short story to tele- vision. 1. What are the criteria and limitations for the television play? 2. Is the television adaptation of Katherine Anne Porter's "Noon Nine" dramatically feasible? 122 3. Is the television adaptation of "Noon Nine" possible from the standpoint of fitting the criteria and limitations of the television.medium? h. What were the problems peculiar to writing this adaptation? It is recognized that television is in the constant need of dramatic material. The number of acceptable television scripts is negligible when compared to the many submitted scripts which are re- jected by the story editor. One reason for this situation was thought to be the playwright's lack of understanding concerning the requirements of the television medium.' Television is not a small theatre or motion picture screen in a glass box, nor is it a modification of radio. Television has synthesized and abstracted points from the theatre, the motion picture and the radio industry and it is maturing into a medium with its own special techniques. The criteria and imitations of the television play have arisen from the peculiar effects of the television camera and the borrowed principles from other forms of entertainment. The television stage does not resemble the theatre's proscenium arch oraarena stage, but takes the form of a cone-shaped playing area, wide at the back and tapering to a point at the camera lens. Television is also a.medium of camera selectivity. The spectator of a theatrical presentation views the presentation from one point in the theatre. The spectator of a television production is transported to a different position every time the director switches from camera to camera. Television is an intimate medium capable of great subtleties. ‘I The relationship between performer and audience is both physically and aesthetically close. The performer need not project emotion with the force necessary from a stage, nor does he depend on broad gestures and physical movement. Television has the capability of revealing character in quick, yet intense, brush-like touches. The time limitation of the medium can be considered a limitation, but it can also be an asset to the playwright who understands the medium with which he is working. For example, time can be considered a limi- tation because adaptation often requires condensation. Time also influences the number of characters in the play with whom the viewer can identify himself. The time limitation becomes an asset when the playwright is compelled to limit himself to only the material which serves a dramatic function in the play. Structurally the television play is similar to the three—act form of the theatre, but due to the time limitation the television play must quickly capture interest and therefore begins at a much more in- tense pace. Television cannot present panormnic scenes with any great success, since the television screen is relatively small and objects appear smaller on the screen as the view of the set becomes more vast. .There are other general criteria which apply to television as well as the other media. 1. The dramatic script should have unity of action. 2. The theme should be timely. 3. The playwright must be careful in the handling of controversial material. 121; h. Trite or hackneyed situations should be avoided. 5. 1e drama should strive to produce an empathic response on the part of the viewer. 6. The story should be morally uplifting in its implications. The adaptation of some of Katherine Anne Porter's short stories is dramatically feasible. These stories are intimate and television is the natural dramatic medium to convey this intimacy. The conflict in Miss Porter's stories is not in spectacular action, but in detailed, sometimes introspective, moments in a person's life. The short story is an acceptable source for dramatic television material since the adaptation of a short story does not necessarily require condensation. The simplicity of the short story, especially those of Miss Porter, simplifies the process of adaptation. The time limitation of television makes it rather difficult to include the many subplots of a novel, but the short story usually avoids the use of subplots. A survey of the literature written by Katherine Anne Porter was necessary for this study. This survey disclosed that of the twenty remaining short stories at least seven of these could be adapted for television. One of her short stories, "Pale Horse, Pale Rider," was recently produced on television. The television adaptation of "Noon Wine" cannot be evaluated as being successful until it has been produced.' Drama is written to be performed, rather than to be read. The only measurements for the possible success of the unproduced television play are, therefore, its 125 dramatic structure and the use of the television medium which the play- wright makes in the script. The adaptation of "Noon Mine" was written for live television production. The adapter conceived his stage as a television stage, not as the stagfi of the theatre. The controlling factors of time, make-up and costume changes, and scene changes were considered and dramatic compensation was allowed for any scene where any of the above factors would interfere with the continuous movement of the play. The problems involved in writing the television adaptation are related to the dramatic structure of the play. Consistent dramatic structure implies the principle of unity of action. Unity of action requires a strong causal relationship of every point in the play. The flashback device was used for this purpose, because it created a frame of reference within the play and unity was achieved through the use of progressive units of action. 313%ng is a multi-level play. Story, thematic and symbolic levels of meaning were all involved in the adaptation of the short story. One basic difference betwee Kiss Porter's story and the tele- vision play is that Miss Porter utilized third person narration and the revelation of the characters’ thoughts, in addition to dialogue and action. The television playwright must discover a common denominator as a substitute for the various tools of prose fiction. This denominator is the concept of illustrative action or the dramatic demonstration of emotion and idea. The television adaptation of "Noon Wine" is a compromise between an episodic play and a play based solely on the theme of Miss Porter's short story. It was therefore necessary to give each character an individualistic personality trait and a generally symbolic trait. The only way, however, that these traits could be understood was through the use of illustrative or observable action. As has been said before, the playwright should consider criteria and limitations in writing his television adaptation, but he can never really be sure of success until the play has been produced. Therefore, a useful survey study could be made on critical evaluations of produced television adaptations. A second study would involve a survey of criti- cal opinions on the success of original authors of fiction and plays in writing television adaptationscaf their own works. As long as the playwright does not understand the problems of the medium, there will always be a shortage of acceptable dranatic tele- vision material. Once the mediun is understood there will not only be more acceptable original scripts, there will also be more and better adaptations. The adaptation of prose fiction is a relatively untapped area in terms of the vast storehouse of material available and should be a definite source for the solving of television's script shortage. The short stories of Katherine Anne Porter are only a small part of that vast storehouse. BIBLIOGRhPHY Books Baker, Gporgc Pierce. Drp n3+i c Technique. New York: Houghton Mifflin Company, l9h7. 531 PP- Bretz, Rudy. Techniouos of Television Projuction. New York: McGraw- Hill Book Company, l9§3§ L7h pp. Brooks, Cleanth, and Robert Penn. Understandinc Fiction. New York: F. S. Crofts & Company, l9ho. 60o pp. Butcher, S. H. aristotle' 3 Theory of Poetry and Fine Art. London: NacMillanp ea Co., l9 23. L21 pp. Burgun, Edwin Berry. The Novel and the Jorld's Dilemma. New York: — ——o..-—-- ...”..- Oxford University Press, l9H7. 352 pp. 0 Chayefsky, Paddy. Television Plays. New York: Simon a Schuster, 1955. 268 pp. Cowley, Malcolm. E: :ile's Return. 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