New Theater 51-07-01 ep004 Noon Wine

Summary

Podcast Summary: "Noon Wine" – New Theater 51-07-01 ep004

Podcast Information:

• Title: Harold's Old Time Radio
• Host/Author: Harold's Old Time Radio
• Episode: New Theater 51-07-01 ep004 Noon Wine
• Release Date: February 9, 2025

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Introduction

"Harold's Old Time Radio" presents a nostalgic journey into the Golden Age of Radio, reviving classic radio dramas that families once gathered around to enjoy. In episode New Theater 51-07-01 ep004, titled "Noon Wine," listeners are transported into a poignant dramatization of Katherine Ann Porter's acclaimed story. Directed and produced by the esteemed Eva Le Gallienne, the episode delves deep into themes of family dynamics, mental health, and the burdens of isolation.

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Plot Overview

"Noon Wine" centers around the Thompson family—a struggling dairy farm in Texas comprising Mr. Royal Earl Thompson, his wife Mrs. Virginia Payne Thompson, and their two sons, Arthur and Herbert. The family's life is marked by financial hardships, strained relationships, and the unyielding demands of farm labor. The introduction of Olaf Eric Helton, an unassuming Swedish man with a mysterious past, disrupts the family's fragile equilibrium.

Over the years, Helton becomes an integral part of the farm, contributing significantly to its upkeep and bringing a sense of calm with his harmonica tunes. However, the family's peace is shattered when J. Homer T. Hatch, a determined and somewhat menacing law enforcement officer, arrives seeking Helton. Hatch, portrayed by Eva Le Gallienne, is on a mission to recapture Helton, whom he identifies as an escaped lunatic responsible for a past tragedy.

The narrative builds tension as Hatch confronts the Thompsons, leading to a climactic confrontation where Mr. Thompson, under immense pressure, kills Hatch in a moment of desperation. The aftermath reveals the devastating impact of this act on the family, unraveling secrets and exposing deep-seated fears.

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Character Analysis

• Royal Earl Thompson (Mr. Thompson): A hardworking but weary dairy farmer grappling with the responsibilities of sustaining his family and farm. His internal struggle between duty and his breaking point culminates in tragic actions.

• Mrs. Virginia Payne Thompson (Ellie): The matriarch striving to hold the family together amidst mounting pressures. Her love for her husband contrasts sharply with her concern for their sons and the stability of their household.

• Arthur and Herbert Thompson: The sons, representing the future of the family farm. Their innocence and reliance on their parents highlight the generational tensions and the consequences of their father's actions.

• Olaf Eric Helton (Mr. Helton): A silent, enigmatic figure whose presence brings order and efficiency to the farm. His harmonica playing symbolizes a link to the past and a semblance of normalcy.

• J. Homer T. Hatch (Mr. Hatch): A relentless and somewhat aggressive character bent on capturing Helton. His interactions with the Thompsons reveal the thin line between law enforcement and personal vendetta.

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Key Scenes and Notable Quotes

1. Introduction to the Family Dynamics ([00:00]-[05:05]):

   • Mrs. Thompson reflects on their life, emphasizing the challenges they face: “But somehow things just didn't ever seem to go too well for us.” ([02:30])

2. Arrival of Helton ([07:56]-[10:26]):

   • Helton's seamless integration into the farm: “He did real well in the milk house. It's always been a hard place to keep.” ([13:37]-[15:22])
   • Mr. Thompson’s skepticism and strained relationship with Helton: “A Swede. I'll be darned. A Swede.” ([09:44]-[10:00])

3. Introduction of Hatch ([32:22]-[35:25]):

   • Hatch's purpose unveiled by Eva Le Gallienne: “I'm looking for a man named Helton. Olaf Eric Helton from North Dakota.” ([32:42]-[33:02])
   • The revelation of Helton's troubled past: “His brother was courting a girl... Olympic Eric Helton... killed him just like that.” ([34:22]-[35:25])

4. Confrontation and Tragic Climax ([37:25]-[53:36]):

   • The heated altercation leading to Hatch’s death: “He killed Helton.” ([38:25])
   • Mr. Thompson’s internal turmoil and denial: “I had to kill him. I don't remember killing him, but... I had to kill him.” ([51:07]-[51:45])

5. Trial and Aftermath ([35:25]-[43:07]):

   • The courtroom drama where truths and lies intertwine:
     • Eva Le Gallienne as the prosecutor highlights inconsistencies: “Mr. Thompson, who says he saw Helton wounded with a knife when we know there was no wound...” ([42:20]-[43:01])
     • Mrs. Thompson's testimony attempts to salvage the family's reputation: “Mr. Thompson was just trying to save Mr. Helton's life.” ([43:26]-[43:39])

6. Final Resolution ([49:03]-[54:08]):

   • Mr. Thompson's realization of his actions and their impact: “I had to kill him, Ellie. I had to kill him.” ([51:07]-[51:45])
   • The family's fractured state and the lingering effects of tragedy: “There was a time when my husband hadn't killed a man and I could tell the truth to anybody about anything.” ([49:36]-[50:32])

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Themes and Insights

1. Isolation and Its Consequences: The Thompsons’ secluded life on the dairy farm underscores the theme of isolation, both geographically and emotionally. This seclusion exacerbates tensions and hinders open communication within the family.

2. Mental Health and Stigma: Helton's characterization as an escaped lunatic and Hatch's obsessive pursuit highlight societal stigmas surrounding mental health. The narrative delves into the complexities of labeling and the repercussions of misunderstood mental instability.

3. Family Dynamics and Burden: The interplay between Mr. and Mrs. Thompson, coupled with their sons' dependence, illustrates the strains placed on family units in times of crisis. Mr. Thompson's ultimate decision to kill Hatch serves as a culmination of these mounting pressures.

4. Truth and Perception: The courtroom scenes emphasize the fragile nature of truth and how perception can be manipulated. Mrs. Thompson's coerced testimony versus Mr. Thompson's recollection raises questions about honesty and the lengths families go to protect themselves.

5. Tradition vs. Change: Helton’s methods introduce a semblance of modern efficiency to the farm, yet his arrival and the ensuing events disrupt traditional family roles and practices, symbolizing the tensions between maintaining tradition and adapting to change.

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Conclusion

"Noon Wine" masterfully captures the essence of dramatic storytelling from the Golden Age of Radio, weaving a narrative rich in emotional depth and societal commentary. Through the Thompson family's tragic journey, the episode explores profound themes that resonate with contemporary audiences—highlighting the timeless nature of human struggles and the enduring impact of our choices. Eva Le Gallienne's distinguished portrayal and the meticulous production evoke a sense of nostalgia while delivering a compelling and thought-provoking experience for both longtime enthusiasts and new listeners.

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Notable Quotes:

• Mrs. Thompson: “I have a personal and instant interest in every human being that comes within 10ft of me, and I've never seen two alike.” ([01:10])

• Mr. Hatch: “I like anything.” ([19:45])

• Mr. Thompson: “I had to kill him, Ellie. I don't remember killing him, but... I had to kill him.” ([51:07]-[51:45])

• Eva Le Gallienne (Narrator): “...the title Noon Wine is the title of a folk song. Ms. Porter heard it from a Scandinavian acquaintance many years ago...” ([30:41])

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This summary encapsulates the intricate plot, character developments, and thematic elements of "Noon Wine," offering listeners a comprehensive understanding of the episode's emotional and narrative layers.

Transcript

[Eva Le Gallienne]

If you're a maintenance supervisor for a commercial property, you've had to deal with everything from leaky faucets to flickering light bulbs. But nothing's worse than that ancient boiler that's lived in the building since the day it was built 50 years ago. It's enough to make anyone lose their cool. That's where Grainger comes in. With industrial grade products and dependable, fast delivery, Grainger can help with any challenge, from worn out components to everyday necessities. Call clickgrainger.com or just stop by Grainger for the ones who get it done. From New York, where the American stage begins, NBC presents New Theater. New Theater, a series of hour length plays dramatized from the most significant writings of our time and presided over by one of the great personalities of the American stage, the distinguished actress, director and producer, Eva Legallion.

[Narrator]

Ms. Legallian, once again, good evening. Our play tonight is Noon Wine, based on the story by one of America's foremost woman writers, Catherine Ann porter. You know, Ms. Porter believes in quality at the expense of quantity. To put it in her own words, there are too many bad books already without my trying to turn out to a year. The rare story that she does write, and they're all rare in the best sense of that word, stems directly out of an intense and continuous interest in the life around her. To quote Ms. Porter again, I have a personal and instant interest in every human being that comes within 10ft of me, and I've never seen two alike. But I discover the most marvelous differences. I think you'll find in noon wine that Ms. Porter's personal and instant interest in human beings has borne rich fruit, and that the marvelous differences she has discovered in these people, that makes them the individuals they are is clearly apparent. So now we bring you Noon Wine with Virginia Payne as Mrs. Thompson.

[Virginia Payne]

Hear that tune? You don't know what it is, do you? No way for you to know. I didn't know either when I first heard it. But now it runs in my head day after day. Seems like I can even hear it in my dreams. Seems like I can't remember a time when I hadn't heard it. There was a time, though, if I think back, we lived on a farm in Texas, Mr. Thompson and me. Little dairy farm down the hottest part of the state. But it is a nice little place. Had a good cold spring on the property. Only farm the neighborhood had that. But somehow things just didn't ever seem to go too well for us. Oh, I don't want you to think that Mr. Thompson was to blame. There never was a finer man for paying his taxes regular and giving towards the preacher's salary every year, even if he didn't always get to church. And doing his best about raising our two boys. Maybe it's because I never been strong. I don't know. Somehow nothing ever seemed to go.

[Royal Earl Thompson]

Hey there, Ellie. I'm back.

[Virginia Payne]

I heard you drive in, Mr. Thompson. You're back early today.

[Royal Earl Thompson]

Not any earlier than usual. Here, I'll get the rest of the water for you.

[Virginia Payne]

Oh, I got about enough, I reckon. I declare, that pump works harder every day.

[Royal Earl Thompson]

I've been meaning to get to that. Come on, let's go to the kitchen. Too blamed hot out here.

[Virginia Payne]

Everything sell all right at the market today?

[Royal Earl Thompson]

Well, mostly everything. The milk I got this morning didn't seem to taste so good.

[Virginia Payne]

I don't know why that keeps happening. We got the best stuff.

[Royal Earl Thompson]

I don't know. Must be something about the feedback. Folks said the butter wasn't too good last week. Didn't seem like they wanted to buy much today. Want this water over by the sink?

[Virginia Payne]

Right there will be fine. I noticed something a little funny about that butter, too. It's time the churn and the scoops were boiled out again. I'll try and do it tomorrow.

[Royal Earl Thompson]

Now, Ellie, don't you go putting a hand to them things. You just sit and rest yourself when you're feeling better.

[Virginia Payne]

It seems like I never do feel better. I reckon I'm not much of a wife for a man.

[Royal Earl Thompson]

Oh, now, look here, old girl. You can shut up with that kind of talk. Guess I ought to be man enough to turn my hand to a woman's work. What about that?

[Virginia Payne]

Well, it does seem like those hired men could do something once in a while.

[Royal Earl Thompson]

There's no account lowed down, honey.

[Virginia Payne]

Now, don't go spoiling your supper. It'll be ready soon as the cornbread's done. Oh, here they come.

[Royal Earl Thompson]

That was all the beat of it. Never catch a sight of them all day when there's work to be done. Quick as it comes. Dinner time. Here they are.

[Virginia Payne]

Ma. Ma, is supper ready?

[Royal Earl Thompson]

All right, now quiet down, you two.

[Virginia Payne]

I'm hungry. Where's supper? You'll get no supper until you get out to that pump. And wash your faces and hands. Aw, I ain't dirty. Me either.

[Royal Earl Thompson]

Get a move on, you two. Mind your mother now.

[Virginia Payne]

Make Herb go first. He's littler. Make Arthur go. He's dirtier. And besides, he'll eat all the cornbread. Who's dirty? You dumbbell. I'll show you take that. Now you stop.

[Royal Earl Thompson]

You two want a good whaling out of me?

[Virginia Payne]

Oh, the water on my clean floor.

[Royal Earl Thompson]

All right, now get out to the barn, both of you. I'll teach you to fight in your mother's kitchen.

[Virginia Payne]

Mr. Thompson. No, no, no. Don't hit them. They're only babies.

[Royal Earl Thompson]

Ellie, you can't let them get away with her.

[Virginia Payne]

Please, Mr. Thompson.

[Royal Earl Thompson]

All right, go on, then. Get up to bed, you two, now. And no supper. But, Pa. Now get, I said.

[Virginia Payne]

Yes, sir. Come on, you. All right, Pa? Mr. Thompson, you mustn't be so rough on the boys.

[Royal Earl Thompson]

Rough on them young hoodlums. Look at this mess. Now. I was doing a man's work when I was their age.

[Virginia Payne]

Well, that's the way things was. We didn't seem to do too well with anything. It was different, though, after Mr. Hilton come. Just walked in off the road one day and somehow everything was changed. Oh, not right away, of course. At first it was just we had a new hired man. I didn't see him when he come. I was lying down. Mr. Thompson was doing my work, like always, churning the butter.

[Eva Le Gallienne]

Perdio sutra bajo redujerun susoras ponderia calificar para los beneficios del segro de desemplo de Oregon Es gratis applicar sin costos nitarifas paroptender beneficios y los servicios te.

[Royal Earl Thompson]

Interpretacion estandis ponibles presentar su solicitud es.

[Eva Le Gallienne]

Facil yame al uno ocho, siete, siete, tres, cuatro, cinco, tres cuatro, ocho, cuatro uno ocho, siete, siete, tres, cuatro, cinco, tres, cuatro, ocho, cuatro para recivira Yuda encual quieridioma.

[Virginia Payne]

He never did like to churn, and he did it kinda like he was driving a horse. I could hear the churn swishing and I heard the gate creak out front. After a minute, there were voices.

[Royal Earl Thompson]

How do you do, stranger? Can I do something for you?

[Eva Le Gallienne]

I need work. You need a man here.

[Royal Earl Thompson]

Work, huh? Well, sit down. Maybe we can make a deal.

[Eva Le Gallienne]

I'm good, man.

[Royal Earl Thompson]

Well, I can use one. I had a couple, but they got in a scrape and landed in jail. Where'd you work last?

[Eva Le Gallienne]

North Dakota.

[Royal Earl Thompson]

North Dakota? That's a right smart distance off, ain't it?

[Eva Le Gallienne]

I do everything on farm sheep. I need work.

[Royal Earl Thompson]

Is that so? Well, Thompson's my name. Mr. Royal Earl Thompson.

[Eva Le Gallienne]

Helton. Oloth Helton.

[Royal Earl Thompson]

What I want to know, is Helton. How much you fixing to gouge out of me?

[Eva Le Gallienne]

I'm good worker. I get dollar day. What?

[Royal Earl Thompson]

Why, for that money, I'd hire out myself. Where'd you get a dollar a day?

[Eva Le Gallienne]

North Dakota wheat fields.

[Royal Earl Thompson]

Well, now, this here's a dairy farm. Just one man to another. I don't make any dollar a day myself. No, sir. We get a lot.

[Eva Le Gallienne]

How much?

[Royal Earl Thompson]

Well, now, I paid them other fellows $7 a month for the two of them. I tell you, I'll give you $7 yourself. And you can eat at the table with us. Be treated like one of the family as a fellowship, and that's all right.

[Eva Le Gallienne]

I will take it.

[Royal Earl Thompson]

It's a deal, then. Hey, where'd you say you worked last?

[Eva Le Gallienne]

North Dakota.

[Royal Earl Thompson]

Well, one place as good as another, I reckon. You're a furriner, ain't you?

[Eva Le Gallienne]

Nay, I'm a Swede.

[Royal Earl Thompson]

A Swede. I'll be darned. A Swede. Swede, you might as well start in with that churn there. You know what to do with butter after you get it, don't you?

[Eva Le Gallienne]

I know butter business.

[Royal Earl Thompson]

All right. Well, I'll go along then. Tell Ms. Thompson that you're here. Ellie. Ellie. Ellie. You sleep?

[Virginia Payne]

No. What's all the noise out there?

[Royal Earl Thompson]

Old feller says he's a Swede. Says he knows how to make butter.

[Virginia Payne]

I hope it's the truth.

[Royal Earl Thompson]

Now, don't you fret. He'll finish up the butter anyway. I'm gonna ride into town and get a little order of groceries.

[Virginia Payne]

Well, all right, Mr. Thompson, but don't you linger now.

[Royal Earl Thompson]

Don't know what you're talking about.

[Virginia Payne]

Ellie, you do, too. Don't you be going to the taver. You just remember what I said, Mr. Thompson. You remember what? What is that? Who's in the kitchen? Oh, Herbert. Arthur. Now, don't you try to run. Oh, Arthur. Gee, Ma, I didn't mean to wake you up. Wake me up? You know I don't want you eating between meals. And now you had to go and break the lid on my best cookie jar. Oh, Mom. Sorry. I just ought to tell your father on you, that's what. I was hungry. Well, all right, you take a cookie. Long as you at it, then you just. Hey, Ma, what's that sound like somebody playing a tune on a harmonica. Look out there. I see him down by the shack where I have to squint so in the sunlight. Well, will you look at that? Sitting there big as life in the middle of the afternoon. That must be that New hired man your father took on. Funny looking. I think your father said he was a Swede. Now, if that isn't just like him. Gets rid of a couple of new accounts and gets another one to take their place. He plays good. What's he playin'plays? Well, Arthur, sure, I don't know what it is, but he's got no business playing at all with the work to be done. You come along with me down at the spring house. I want to see just what he's done with that butter. Hey, Ma, what you say? He was a Swede. What's that? Somebody from Sweden. Where's that? A long way off, but I don't know. I don't care. Just going to speak to that fella. Nothing's done. Gone now in the spring house. Watch that door. It's getting ready to fall off. No. Looks like it was fixed. I declare, so it was. I wonder when your father went. Now, let's have a look. Hey, look at the butter. There's a lot of it. This cream is all skimmed. He's got a barrel of buttermilk. Will you look here? He's gone and scalded out the molds. Heaven knows when that's been done. Why, and I do believe he's gone and swept the floor. Nothing wrong, Ma. I'm blessed if I can see a thing left to do. Arthur, you go along and find Herbert. I'm gonna have a word with that man. All right, Ma. Herb.

[Eva Le Gallienne]

He.

[Virginia Payne]

Herb. I'd been all ready to scold him, poor man. And all the good clean work done in no time at all. I went over to the shack, kind of looking at him. Tall fella, bony kind of a face, and hair like straw. Skinny, too. He didn't look very strong, and he never looked at me. How da do, sir? I'm Ms. Thompson.

[Eva Le Gallienne]

I'm Hilton.

[Virginia Payne]

I want to tell you, you did real well in the milk house.

[Eva Le Gallienne]

That's all right.

[Virginia Payne]

It's always been a hard place to keep. I don't know when anybody's had it so clean.

[Eva Le Gallienne]

Not hard.

[Virginia Payne]

You must have worked on a dairy farm before. I hope you'll stay with us, Mr. Hilton. That's a real pretty tune. Most folks don't seem to get much music out of a harmonica. Oh, I see you got five of them up here on the shelf. You must be mighty fond of music, Mr. Thompson. Used to play on an old accordion we had, but the boys broke it up.

[Eva Le Gallienne]

What do you say?

[Virginia Payne]

Well, you know how little boys are. You better set them harmonicas up. High or they'll be after them. Mr. Hilton, look out you don't fall.

[Eva Le Gallienne]

They won't get them.

[Virginia Payne]

Now, that'll do, I guess. Up, down to the roof. Well, it'll be time for dinner. We usually have cornbread, except on Sundays. Mr. Help. And plenty good butter and cheese. That's a blessing. What do you like to eat?

[Eva Le Gallienne]

I like anything.

[Virginia Payne]

Well, I'll call you when it's ready then. I say, I'll call you when supper's ready, Mr. Helton. Here, here, hush up now, you two. Herbert, Arthur, Come on in here now. Supper is nearly ready. We was playing Indians, Ma. Well, you play later. Your PA will be right in. Are you all washed? You know what'll happen if you aren't.

[Royal Earl Thompson]

Hey, Ellie. I took a look around it. Swede sure is grinding out the labor. Supper nearly ready, old girl.

[Virginia Payne]

You smell like a toper. Mr. Thompson, you can sit down. Arthur, would you call Mr. Helpman for supper? Hey, Hilton, supper's ready. You big sweet. Now, that's no way to act. You gone out there and call him decent.

[Royal Earl Thompson]

Do like your ma says.

[Eva Le Gallienne]

Now you call.

[Royal Earl Thompson]

Well, that was quick. Sit right there, Mr. Helton. Come on, you two hoodlums.

[Virginia Payne]

Yes, sir. Lord, for all these and thy other blessings, we thank thee in Jesus name. Amen. Herbert, I didn't touch it. No, you did so. Now, Mr. Helton, take some beans, plenty of ham and cornbread.

[Royal Earl Thompson]

Corn's coming up pretty good, Helton. Did you notice?

[Virginia Payne]

Oh, the weather gets mighty hot hereabouts, Mr. Helton. I hope it won't be too much for you. You didn't take much bread, Mr. Hilton. There's plenty.

[Eva Le Gallienne]

I got enough.

[Virginia Payne]

I got enough.

[Royal Earl Thompson]

Arthur, you shut up. Say, Helton, funny thing happened at the hotel today. There's an old goat hangs around there. Couple of the boys fed him a bucket of beer. Well, sir, it hit him just like he was a man. He run around to you to swore he was gonna kick the bucket. That's a good one. That's pretty funny, hey, Ellie.

[Virginia Payne]

Now, Mr. Thompson, you know what I think of that story?

[Royal Earl Thompson]

You see, Helton, that's the way women are. Like the fellow says.

[Virginia Payne]

Mr. Helton, you're not finished already? Won't you have more?

[Royal Earl Thompson]

Good night, Mr. Helton.

[Eva Le Gallienne]

Good night.

[Virginia Payne]

Good night. Good night. No, no. This way. Good night. Stop that. Making fun of a poor man.

[Royal Earl Thompson]

I tell you, Ellie, they're nothing but heathens. Now get to bed, you two. Go on now before I take the hide off of you.

[Virginia Payne]

All right, we go.

[Royal Earl Thompson]

Come on.

[Virginia Payne]

Her mom. Aw, you shouldn't pick on him, Mr. Thompson.

[Royal Earl Thompson]

Who's picking? We gotta raise em, Allie. Say, you know, that Swede's about the closest mouthed feller I ever seen. Must be afraid he'll crack his jaw.

[Virginia Payne]

Well, maybe it's good to have a man keep his mouth shut.

[Royal Earl Thompson]

Let you do the talking, hey, old girl.

[Virginia Payne]

Only thing is, he don't eat enough. I like to see a man relish a good meal. My grandma used to say, when the.

[Royal Earl Thompson]

I'll tell you the truth about your grandma. She just said the first thing had come into her head. Called it God's wisdom.

[Virginia Payne]

She wasn't anybody's fool. Mr. Thompson.

[Royal Earl Thompson]

Morning, Helton.

[Eva Le Gallienne]

Good morning.

[Royal Earl Thompson]

See you got the milk and almost done. You know, that's a job. I never liked cows. I don't know. They got such dumb faces.

[Eva Le Gallienne]

I like cows.

[Royal Earl Thompson]

That's good. Glad to hear it. Well, come on, finish up the milk and breakfast's about ready.

[Eva Le Gallienne]

I already had breakfast. When?

[Royal Earl Thompson]

Where'd you eat?

[Eva Le Gallienne]

Five o'clock. Bacon, caffeine.

[Royal Earl Thompson]

That ain't enough for a man. You mean to say you made your own breakfast? That's woman's work.

[Eva Le Gallienne]

Work won't wait on woman. Work is work.

[Royal Earl Thompson]

Well, say, you know, Helton, maybe you got an idea. Yes, sir. Helton, like the feller says, maybe you got something there. What's this picture you give me? Helton?

[Eva Le Gallienne]

Cheese Press. They sell it in mail order house. You buy this?

[Royal Earl Thompson]

Well, what for?

[Eva Le Gallienne]

It's a good thing. You buy this, I make cheese. Cheese is good to sell.

[Royal Earl Thompson]

Say, Helton, what's become of that old rake I had laying around in my shack?

[Eva Le Gallienne]

It's no good this way. I fix it. I fix it good.

[Royal Earl Thompson]

Well, Ellie, I went and asked Mr. Helton if he wanted to go to church with you on Sunday like you said.

[Virginia Payne]

What did he say, Mr. Thompson?

[Royal Earl Thompson]

What'd you think? Says, Sunday's like any other day. He's got work. I tell you, Ellie, that fellow's a working fool. Hey there, Jim. Another whiskey for old McClellan here. You too, Tom.

[Virginia Payne]

Yeah, I might have.

[Royal Earl Thompson]

Fine looking. A lot of eggs you brought town this morning to.

[Eva Le Gallienne]

I was noticing, too, you got no more hens than we have.

[Virginia Payne]

What's the trick?

[Royal Earl Thompson]

Well, you know, boys, man takes good care of his stock and his poultry, it's bound to show up. Well, here's how. Here's how. Boy, that's the stuff, huh? Say, I don't know if you boys was around the other day, but doggone it, funniest thing happened you ever saw. Couple of us fed Some beer to that old goat that hangs around here. I wish you could have seen the way he was running around. Just like a chicken.

[Virginia Payne]

Nice out here this evening, ain't it, Mr. Thompson?

[Royal Earl Thompson]

Sure is, Allie. I never thought I'd have nothing so fancy as a swing on my front porch.

[Virginia Payne]

Now, you hush. You don't mind setting in it. I notice. And it looks real pretty.

[Royal Earl Thompson]

You look real pretty yourself, old girl.

[Virginia Payne]

Why, Mr. Thompson, I do not.

[Royal Earl Thompson]

I say you do. Say, Allie, I've been thinking. We got a little extra in the bank. Ain't it about time you was buying yourself a fancy new dress?

[Virginia Payne]

I got no need for one, Mr. Thompson.

[Royal Earl Thompson]

Sure you do. I got the finest looking wife in the county. I aim for folks to know it. Oh, fiddle a dress. You know, one of them flimsy things, huh? Say, Ellie, you remember that blue thing you had when you was teaching Sunday school before we was married?

[Virginia Payne]

I declare, you always liked that dress, but I never thought you remembered it. That was a long time ago.

[Royal Earl Thompson]

Not so long as all that. Well, guess Hilton's got all the chores done. I give him another raise in pay today.

[Virginia Payne]

Reckon he'd buy a new harmonica. He's got 10 now. I had to go down to his shack for something the other day and I seen him.

[Royal Earl Thompson]

10. You'd think with all that he could learn one new tune. Just one.

[Virginia Payne]

Funny, but I don't even notice him playing that anymore. Seems like it's just a part of him. It was in the third year Mr. Hilton was with us that something happened. Kind of worried me for a while. And then I forgot about it. I'd been down the garden pulling some carrots and beans for dinner. The vegetables grew wonderful the way Mr. Helton kept the patch weeded. Manured the soil every fall. But it was when I was walking back up to the house, I saw what frightened me. I didn't know what to do, so I just went on slow, like up to the house. Time I got there, the two boys were sitting close together up against the wall. I shooed them into the kitchen. Mr. Thompson was there. Come on, now, you two, get right in there. Give me a hammer for dinner. All right, Ma. I'm coming, Ma.

[Royal Earl Thompson]

Well, never heard you two jump to mind like that. What you been up to? Nothing, Pa. You sure about that?

[Virginia Payne]

Honest, Pa. Nothing. Arthur, you still fussing at those carrots? Go on, now. Go out and wash them under the pump. Herbert, you go get an armload of wood. I'm gone. I'll do it right away, Ma.

[Royal Earl Thompson]

Now, what's the matter with them? They got awful polite all of a sudden.

[Virginia Payne]

I got to tell you something, Mr. Thompson. The boy.

[Royal Earl Thompson]

What'd they do this time?

[Virginia Payne]

I don't know. But I was coming up from the garden just now And I see Mr. Helton and the boys.

[Royal Earl Thompson]

What about him?

[Virginia Payne]

He took the two of them one at a time and he give them each a shaking like I never saw what.

[Royal Earl Thompson]

It'll do him good. Probably bothering him at his work.

[Virginia Payne]

I don't know, Mr. Thompson. It was his face that frightened me. He. Well, he just looked like he was gonna kill em both.

[Royal Earl Thompson]

Now, Ellie, you're making that part up. Why don't you ask them what they've done?

[Virginia Payne]

Oh, I don't like to do that. They might lie to me and then I'd have to punish.

[Royal Earl Thompson]

Well, I'll be. If that ain't just like a woman. Well, I'll find out what they done fast enough.

[Virginia Payne]

Where are you going?

[Royal Earl Thompson]

Down to Helton's shack. Arthur. Herbert, you get in the kitchen. Don't you move till I get back. Now you hear me?

[Virginia Payne]

Yes, Pa. Yes, sir. Oh. Oh dear. Here's the wood, Ma. Well, don't stand there with it, Herbert. Put it over in the wood box. Yes'm. I declare, I don't know what's the matter with you boys. I do my level best with you, but it just does seem like you get silly all the time. Arthur, now you peel me some onions. About five or six big ones. Now I got busy now. Yes, sir.

[Royal Earl Thompson]

Where are those kids? You wait till I finish with you, you little brats.

[Virginia Payne]

Mr. Thompson, what is it?

[Royal Earl Thompson]

Helton says they've been fooling with his harmonicies, Ellie. Blue in em, got em all dirty. Full of spit. They don't play good. I'm gonna tan their hides for em. I tell them.

[Virginia Payne]

You better let me do it, Mr. Thompson. You haven't got a light enough hand for children.

[Royal Earl Thompson]

You don't half whip em, Ellie. That's what's wrong with them. Now you two, what you gotta say for yourself? Now you ought to get a good thrashing. You know that, don't ye?

[Virginia Payne]

Yes, sir.

[Royal Earl Thompson]

Well, the next time I catch you hanging around Helton's shack, I'm gonna take a strap to both of you. Now you hear me?

[Virginia Payne]

Yes, sir. Now here comes Mr. Helton in for supper and I want you both to apologize the nicest you know how. No nonsense.

[Royal Earl Thompson]

Now come on in, Helton. These young tadpoles got something to say to you.

[Virginia Payne]

Go on, Arthur.

[Eva Le Gallienne]

Herbert.

[Virginia Payne]

They want to say, Mr. Hilton, that they didn't mean to spoil your harmonicas. They're sorry they went into your shack and they'll never do it again. They know that they've been bad and they want to apologize. Go on now, you two, say it. I'm sorry, Mr. Helton. Me too, Mr. Helton.

[Eva Le Gallienne]

That's all right.

[Virginia Payne]

Before I went to sleep that night, I'd about figured out that what really scared me was the idea Mr. Help might go away. I just couldn't think at all of what we'd do with him gone.

[Eva Le Gallienne]

Here again, Ms. Le Gallien.

[Narrator]

In the Saturday Review of Literature, Mr. Paul Rosenfeld was almost extravagant in his praise of Catherine Ann Porter. He writes, she moves in the illustrious company headed by Hawthorne, Flaubert and Henry James. It is the company of storytellers whose fiction possesses distinct aesthetic quality, whose feelings have attained harmonious expression in their work. Ms. Porter has not yet given us a full length novel. Some critics doubt that her style and method would be successful in this fuller medium. But it should be remembered that with Catherine Ann Porter, writing isn't a career, as she herself puts it, it's a way of living. On the subject of this way of living, as well as on the subject of story making, Ms. Porter herself is unfailingly interesting. A story takes form, she says, when hundreds of apparently unrelated things, events, memories, places and people come together around a theme like iron filings gathered around a magnet. There they undergo a change, a transmutation, almost as if by a chemical process. And when this happens, Ms. Porter knows she's ready and writes her story. Noon Wine is a happy example of this process. Incidentally, the title Noon Wine is the title of a folk song. Ms. Porter heard it from a Scandinavian acquaintance many years ago, and it inspired the story you are hearing today in Ms. Porter's original story. It's the tune which Helton plays, the tune which is his one link with the past, with the morning of his life before he spilled or poured out the wine which was meant for the noon. We will in a moment.

[Eva Le Gallienne]

This is NBC, the National Broadcasting Company, Act Two of Katherine Ann Porter's Noon Wine.

[Virginia Payne]

Well, nine years went by. We had water pipes to the kitchen and a new wagon shed and an icebox. My sons were almost grown men, and they were good, solid boys. You could see that now. They did their work and they weren't mean anymore. And Mr. Helton, he did his work and he played his tune. And we all stayed out the poorhouse one way or another, as Mr. Thompson used to say. And then, well, I can't say rightly just how it happened. It started on a hot day in August. The dust was everywhere, even though Mr. Hilton sprayed down the front yard with the hose every evening. Mr. Thompson was dozing on the front porch when the man drove up. I seen him out the window. Sort of a flabby man with a mean kind of face. Not the kind you'd take to at all. I just wondered what anybody'd be hiring a rig and driving out for a day like that. But then I didn't pay any attention. It was just too harsh.

[Eva Le Gallienne]

Hey, there.

[Royal Earl Thompson]

What? What? Say? Oh, howdy do, sir. I must have dozed off.

[Eva Le Gallienne]

Well, a man's got a right to do that day like this. You Mr. Thompson? Mr. Royal Earl Thompson.

[Royal Earl Thompson]

That's my name.

[Eva Le Gallienne]

Well, Hatch is my name. Mr. Homer T. Hatch. I'd just like to have a little talk with you. It won't cost you a cent.

[Royal Earl Thompson]

Oh, yes, that's fair enough. Why don't you sit down right here and tell me your business? I don't want to hurry you, but we got our chores to do.

[Eva Le Gallienne]

Well, now, Mr. Thompson. Fact is, I'm looking for a man named Helton. Olaf Eric Helton from North Dakota. If you got him here, I wouldn't mind having a little talk with him, if it's all the same to you.

[Royal Earl Thompson]

Well, that's him playing that tune right now. Now's your time.

[Eva Le Gallienne]

Still playing that, huh?

[Royal Earl Thompson]

Know it like the palm of my own hand. Never heard him say what it was, though.

[Eva Le Gallienne]

No, that's kind of scandihoovian song. Sing it a lot up in North Dakota. Says something about feeling so good in the morning you drink up all your liquor before noon. All the liquor you was saving for lunch. It's kind of a drinking song, Mr. Helton.

[Royal Earl Thompson]

Don't drink.

[Eva Le Gallienne]

Plays that tune, though, huh? Yes. Played it 15 years ago in North Dakota. Used to play it in the asylum when he wasn't in a straitjacket.

[Royal Earl Thompson]

What's that you say?

[Eva Le Gallienne]

Oh, shucks, now. I didn't mean to tell you.

[Royal Earl Thompson]

You mean they. They had him in the asylum?

[Eva Le Gallienne]

That's where they had him and I. Just till he busted out and disappeared. And now I come along and find him here.

[Royal Earl Thompson]

He don't act crazy to me. Acts like a sensible man. Saves his money. If he's crazy, I. I think I'll go crazy for a change myself.

[Eva Le Gallienne]

That's a good one, that is. Yes, let's all go crazy and save our money.

[Royal Earl Thompson]

That ain't what I said about this, Mr. Helton. I got Nothing against him because he went loony once or twice. And I don't aim to take no steps about it neither.

[Eva Le Gallienne]

Well, the man don't care who he associates with. But I'd like to see anybody hiring that lunatic around North Dakota after what he done.

[Royal Earl Thompson]

What'd he do?

[Eva Le Gallienne]

Oh, nothing to speak of. Her brother was courting a girl. Brother borrowed Helton's harmonica one night to give her a serenade and lost it. Hilton ran him through with a pitchfork and killed him just like that. They was gonna give him the works, but they found out he was crazy, so they just put him in the asylum. Now, you don't want to see no lunatic at large, do you?

[Royal Earl Thompson]

Well, as the feller says, circumstances alter cases. Now, this Helton.

[Eva Le Gallienne]

This Helton's kept my record from being 100%. Why, I rounded up 20 art escape lunatics past 12 years. Of course, I don't do it for the reward, but it gets to be quite a tidy sum all told.

[Royal Earl Thompson]

Ain't you got none of your business anywhere else but here?

[Eva Le Gallienne]

Well, I just undertook to help out, like you might say. Might never have caught up with him. But you know what he did?

[Royal Earl Thompson]

What?

[Eva Le Gallienne]

Well, sir, about two weeks ago, his old mother gets a letter from him. And what's in it but a check for $850 just like that. Well, the old lady's getting kind of childish. I tell you. That letter made her so happy. Looked like she clean forgot her son had killed his brother and went loony later. Well, this letter said he was. He was getting on all right. And for her not to tell anybody, but naturally she couldn't keep it to herself. That's how I come to know. Ain't that a hot one?

[Royal Earl Thompson]

That's hot, all right. Now, Mr. Hatchet, what you aiming to do?

[Eva Le Gallienne]

Well, now, I don't want any violence. I got the handcuffs, and I figure the two of us can overpower him easy enough.

[Royal Earl Thompson]

Well, I tell you what I figure, mister. I figure that's a pretty dirty job you got. This here's my property, and you can just get yourself off of it quick. You understand?

[Eva Le Gallienne]

Now, look here, Tom.

[Royal Earl Thompson]

All right, now get moving.

[Eva Le Gallienne]

I'll get moving, but I'll be right back here tomorrow.

[Royal Earl Thompson]

And my advice is you better give.

[Eva Le Gallienne]

This a little thought. Yes, sir, a little thought.

[Royal Earl Thompson]

Why, you dirty, rotten.

[Eva Le Gallienne]

That's no good.

[Royal Earl Thompson]

Dirty yellow livered hound. I.

[Virginia Payne]

Nobody out here, Mr. Thompson. Who is I?

[Royal Earl Thompson]

Wasn't nobody, Ellie. Just a fella stopped in off the.

[Virginia Payne]

Road, but it sounded like you were arguing.

[Royal Earl Thompson]

What'd he Say, I told you, Ellie, it wasn't nobody. You won't see him around anymore. I don't want to hear no more about it.

[Virginia Payne]

I declare, Mr. Thompson, you ought to have something over your head chopping wood in this hot sun.

[Royal Earl Thompson]

Oh, no, don't you, Fred. Ellie, I'm about through here. Then I'm gonna have me one of them cold bottles of beer out of the ice box.

[Virginia Payne]

Well, look there, if they don't come. That same fellow was here yesterday.

[Royal Earl Thompson]

Ellie, you get on in the house.

[Virginia Payne]

But I thought you said do.

[Royal Earl Thompson]

I could tell you. Get on in the house.

[Eva Le Gallienne]

See you're getting a little work done, Mr. Thompson.

[Royal Earl Thompson]

Hatch, I told you yesterday to get off my property and stay off.

[Eva Le Gallienne]

Now, look here, Thompson. I give you time to think. Maybe I kind of threw you off yesterday. But man like yourself ain't going to stand in the way of getting an escaped lunatic back where he belongs.

[Royal Earl Thompson]

I tell you, Helton ain't crazy and he stays right here.

[Eva Le Gallienne]

Listen, Thompson, if you don't want to help me, I'll get help somewhere else.

[Royal Earl Thompson]

Get it where you want, only get out.

[Eva Le Gallienne]

You gonna let me take him or ain't you?

[Royal Earl Thompson]

No, I ain't. Now, you get off this place or I'll turn you over to the law.

[Eva Le Gallienne]

You just try it. I'll tell him that you're.

[Royal Earl Thompson]

Get off or I'll knock you down.

[Eva Le Gallienne]

You keep away from me, Thompson. I got a knife.

[Royal Earl Thompson]

Are you gonna get out of here?

[Eva Le Gallienne]

I'm gonna get Helton. You leave him alone. You put that knife down. I'll kill you. There you are, Helton.

[Royal Earl Thompson]

Stay away from him, you crazy lunatic.

[Eva Le Gallienne]

Now I got dirty.

[Royal Earl Thompson]

No Count. Hatch. Hatch. Hatch. Get up. Get up and get out of here. Hatch.

[Virginia Payne]

Mr. Thompson. Mr. Thompson.

[Royal Earl Thompson]

Ellie. Ellie. Ellie. He killed Helton.

[Virginia Payne]

Mr. Thompson, what is it? What's happened? Who is this man?

[Royal Earl Thompson]

He killed Helton, Ellie. I had to knock him out with the axe.

[Virginia Payne]

But there goes Mr. Helton. I see him. He's clear off there. He's running away.

[Royal Earl Thompson]

He killed Helton. I saw it. He killed him with a knife. Ellie. I had to knock him out. But now he won't come, too. Ellie, he won't come, too.

[Virginia Payne]

Mr. Thompson covered up the the man with a piece of wagon canvas and rode into town for the sheriff. When he got back, he come to our room and he told me what I was to say. Never been a time before when I couldn't tell the truth to anybody. But Mr. Thompson told me what I was to say, and I said it.

[Royal Earl Thompson]

You tell Mr. Burley he's my lawyer. He's got to know everything.

[Eva Le Gallienne]

You came out of the house, Mrs. Thompson, and you saw Mr. Hatch go after Mr. Helton with a knife.

[Virginia Payne]

Yes. Yes, that's right. Mr. Thompson was just trying to save Mr. Helton's life. I saw it all.

[Royal Earl Thompson]

But I tell you, Mr. Burley, I wasn't gonna kill him. I only wanted to keep him off of Helton. I only meant to knock him down.

[Eva Le Gallienne]

That'll be pretty hard for the jury to swallow, Thompson. You hit him with the ax, didn't you?

[Royal Earl Thompson]

Yeah. Yes, I guess I did. But I tell you, I can't remember. All I know is.

[Eva Le Gallienne]

Well, never mind that Hatch didn't have any right on your property. If he had any scores to settle with Held.

[Royal Earl Thompson]

But he was coming to take him because he was a lunatic. And he wasn't no lunatic.

[Eva Le Gallienne]

You can't say that. Won't do your case any good for the jury to find out you knew that man was crazy. Not after the way he acted.

[Virginia Payne]

Oh, poor Mr. Help. He was so good, so quiet.

[Eva Le Gallienne]

From the way the sheriff told me, there wasn't anything quiet about him. Mrs. Thompson ran through these woods like a maniac. Picked up rocks and tried to brain every man that came near him.

[Virginia Payne]

But did they have to?

[Eva Le Gallienne]

Oh, they didn't mean to hurt him, but they had to catch him. Maybe never would have got him. But he stopped to pick up a couple of harmonicas that fell out of his pocket. Can you imagine a man thinking about harmonicas? Time like that?

[Royal Earl Thompson]

Him I can.

[Eva Le Gallienne]

Once they got him, they tried to go easy on him. But he was hurt too bad already. He couldn't live. Now nobody's going to believe he was as quiet as you say for nine years. So you just don't say one word in that trial. Thought I tell you, but I've got to tell him that I. Thompson, you don't gotta tell him anything. You plead not guilty, and I'll do the rest. What? I promise you, Thompson, in a couple of weeks you'll have forgotten all about it. Will you tell the court once more.

[Royal Earl Thompson]

Mr. Thompson, just what you think you saw? The deceased, Mr. Homer T. Hatch, do think nothing. I tell you, I seen that Hatch put that knife into Mr. Helton's belly and rip it up like he was slitting a sow. And how do you explain the fact.

[Eva Le Gallienne]

That when this Helton was caught, there wasn't a knife scratch on him anyway?

[Royal Earl Thompson]

I don't explain it. I. I'm telling you. What a scene.

[Eva Le Gallienne]

As representative of the family of the murdered Mr. Hatch. Object to the use of that term.

[Royal Earl Thompson]

Sustained.

[Eva Le Gallienne]

To the deceased, Mr. Hatch, I suggest to the court that Mr. Thompson, who.

[Royal Earl Thompson]

Says he saw Helton wounded with a.

[Eva Le Gallienne]

Knife when we know there was no wound, is himself pretty much of a loony. I object.

[Royal Earl Thompson]

Christine, stick to the facts.

[Eva Le Gallienne]

Your witness, Mr. Burley. Mr. Thompson, the day before the unfortunate accident, you had put Mr. Hatch off your property in a peaceable manner and warned him to stay off.

[Royal Earl Thompson]

That's right.

[Eva Le Gallienne]

And the very next day, he again trespassed on your property and assaulted you and your hired man?

[Royal Earl Thompson]

That's right.

[Eva Le Gallienne]

Yes. And you merely defended your rights, your life and helton's life against Mr. Hatch.

[Royal Earl Thompson]

But I. I didn't.

[Eva Le Gallienne]

Thank you, Mr. Thompson. Now, I asked the court to recall Mrs. Ellie Thompson.

[Royal Earl Thompson]

Mrs. Ellie Thompson. Mrs. Ellie Thompson, take the stand.

[Eva Le Gallienne]

Now, Mrs. Thompson, will you tell the court once more what you saw on the day of the accident?

[Virginia Payne]

I heard him shouting. I come out of the house. I seen Mr. Hatch go at Mr. Hilton with a knife. Mr. Thompson was only trying to save Mr. Hilton's life.

[Eva Le Gallienne]

Thank you, Mrs. Thompson. That will be all. It will be clear to the court that the defendant, Mr. Royal Earl Thompson, was clearly within his rights and acted as any one of us would have acted in defending the man's life with the first weapon that came to his hand. Therefore, I asked at the Corps.

[Virginia Payne]

I kept saying what I was supposed to say, that I had seen the whole thing and that everything Mr. Thompson said was true. But I kept seeing the faces of my boys sitting there in the front row. And then after it was all over, Mr. Thompson could. Couldn't leave it alone. If only he'd left it alone, we might have. Might have made out some.

[Eva Le Gallienne]

Pass the chicken over this way, will you, Art? Oh, sure, Herb.

[Royal Earl Thompson]

You want some more, Ma?

[Virginia Payne]

No, thanks, Arthur.

[Royal Earl Thompson]

How about some more for the old man, huh? Oh, excuse me, Pa. Here you are, Ellie. That. That Mr. Burley, that lawyer, he didn't do right by me. Watch out, Herb. You're gonna knock over your coffee. Ellie, he never let me say anything. He made it sound like I. Like I killed that feller.

[Virginia Payne]

Stop talking about it now, Mr. Thompson.

[Royal Earl Thompson]

But what are folks gonna think?

[Virginia Payne]

We just have to hope that folks forget about it.

[Royal Earl Thompson]

They ain't gonna forget nothing. They'll be calling me a murderer. That's what they'll be doing. They'll look at you boys and they'll say, your father's a murderer.

[Virginia Payne]

Leave us out of it, will you, Pa?

[Royal Earl Thompson]

They're the murderers. They're the ones that chased Mr. Helton through the woods.

[Virginia Payne]

Now you can talk, Mr. Thompson. If only you'd have talked when that man was here. Just talked. Instead of killing, poor Mr. Hilton would be sitting right here or down by the shack playing his tune.

[Royal Earl Thompson]

That's the way you think, is it? What can I expect from the neighbors when my own wife turns against me?

[Virginia Payne]

I ain't Turning against you, Mr. Thompson. I ain't I. Leave it alone, Pa, can't you?

[Royal Earl Thompson]

You had a fair trial. You got off, didn't you? What is the sense of talking about. It wasn't no fair trial when a man can't get up and say he didn't mean what he done. People have got to know. I've got to tell him.

[Eva Le Gallienne]

It won't do any good.

[Virginia Payne]

You just mix the whole thing up worse than ever.

[Royal Earl Thompson]

I'm going to tell him and Ellie. You're going with me. You're going to tell him, too. You can't do that tomorrow. Will you stay out of this?

[Virginia Payne]

But I didn't see nothing, Mr. Thompson.

[Royal Earl Thompson]

Don't say that. Don't never say that. You know I didn't kill him on purpose, don't you? Don't you?

[Virginia Payne]

Of course I know it.

[Royal Earl Thompson]

Then that. That's just as good as seeing it. That's all the folks have to know. Like I say, McClellan, me and Ellie was just driving along this way. We thought we'd stop in like.

[Eva Le Gallienne]

Well, mighty thoughtful of you, Thompson. Sure you wouldn't like a glass of beer, Mrs. Thompson?

[Virginia Payne]

Oh, no, thank you, Mr. McClellan.

[Royal Earl Thompson]

Mighty good. Now, you was at that trial, Mr. McClellan, but I just feel like I. I want to make something clear in folks minds. All clear to me, Thompson. Well, you know I. I killed a man. But you folks know I wouldn't do a thing like that.

[Eva Le Gallienne]

Sure, Thompson. Sure, I know how you feel.

[Royal Earl Thompson]

If you don't believe me, ask my wife here. She saw it. She'll tell you.

[Virginia Payne]

That's right, Mr. McClellan. I seen the whole thing. Mr. Thompson told the real truth.

[Royal Earl Thompson]

Well, now, what makes you think I wouldn't take your word on it, Thompson, Huh? Didn't you swear on at that trial?

[Eva Le Gallienne]

Yes, sir.

[Royal Earl Thompson]

You had a fine, fair tr.

[Eva Le Gallienne]

Well dink, Thompson. How are you, Ms. Thompson?

[Royal Earl Thompson]

Howdy, Tom.

[Eva Le Gallienne]

Hey, Sally. Come on out. Them Thompsons are here.

[Royal Earl Thompson]

I reckon you happen to know, Tom, I had some trouble lately. Not the kind of thing happens to a man every day in the year. As the fellow says, there's some things I don't want no misunderstanding in folks, mind About.

[Virginia Payne]

Well, howdy, folks.

[Eva Le Gallienne]

I ain't seen you since Thompson here come to tell us about it.

[Royal Earl Thompson]

Sally. My wife will tell you. Ask my wife. She.

[Virginia Payne]

Oh, it's true. Mr. Thompson didn't.

[Eva Le Gallienne]

Well, now, we don't mix much with these murder matters. Right glad you came to give us the straight of it, though.

[Virginia Payne]

Everybody's surely shooting their heads off. Course, we don't hold with killing.

[Eva Le Gallienne]

The Bible says shut your trap and keep it shut. Now, Thompson, it sure looks to me.

[Virginia Payne]

We mustn't linger, Mr. Thompson.

[Royal Earl Thompson]

Yeah, that's right. We. We can't stay. We'll be going now, Tom. We've got a long way to go. You were there, Ellie. You saw it, didn't you?

[Virginia Payne]

Yes. Yes, that's the truth. Mr. Thompson was trying to save Mr. Helton's life.

[Royal Earl Thompson]

Just ask my wife. She won't lie.

[Eva Le Gallienne]

Well, I'd be glad to have you.

[Royal Earl Thompson]

Come in, folks, but my wife's sister, she's here with a raft of young.

[Eva Le Gallienne]

UN's, and House is pretty full.

[Royal Earl Thompson]

That's a fact. I've been meaning to get up to your place one of these days and.

[Eva Le Gallienne]

Sure glad you dropped around.

[Royal Earl Thompson]

Them folks always was fair weather, friends.

[Virginia Payne]

Let's go home, Mr. Thompson. Let's go home. We seen them all, and it wasn't any good. There was a time when I thought I had neighbors and friends. There was a time when we could hold up our heads. There was a time when my husband hadn't killed a man and I could tell the truth to anybody about anything.

[Royal Earl Thompson]

Ellie? Ellie, you asleep? Ellie?

[Virginia Payne]

I'm awake, Mr. Thomas.

[Royal Earl Thompson]

I don't understand it, Ellie. I don't understand how that Hatch feller come to get killed.

[Virginia Payne]

Never mind. Never mind.

[Royal Earl Thompson]

Furthest thing from my mind was killing. You know that, Ellie.

[Virginia Payne]

Yes.

[Narrator]

Yes.

[Royal Earl Thompson]

I seen that knife go into Helton. I seen it, didn't I?

[Virginia Payne]

You said so.

[Royal Earl Thompson]

If I didn't see it, then I'd done wrong. I'd done wrong, Ellie. But I'd done the only thing that I could do. I just can't figure this out.

[Virginia Payne]

Go to sleep. Go to sleep.

[Royal Earl Thompson]

I had to kill him. I don't remember killing him, but. But he deserved killing. There was nothing I could have said to him. He wouldn't have listened to me. The dirty yellow livered hound. Coming around after an innocent man. Ruining a family that never did nobody no harm. I had to kill him, Ellie. I had to kill him.

[Virginia Payne]

Ellie.

[Royal Earl Thompson]

Ellie.

[Eva Le Gallienne]

Ellie.

[Virginia Payne]

Ellie.

[Royal Earl Thompson]

What does it do, Ellie? What does it light the lamp, Arthur Herbert.

[Eva Le Gallienne]

Ellie.

[Royal Earl Thompson]

Ellie, now, please stop. Stop. Now, stop. Ellie, please. Where's my scream?

[Eva Le Gallienne]

Mom. What you do to her?

[Royal Earl Thompson]

No, it's nothing. No. All of a sudden she's scared. She's scared to death. What'd you do to her? I didn't touch her.

[Eva Le Gallienne]

You must've.

[Royal Earl Thompson]

Ellie. Ellie.

[Narrator]

You get away from her.

[Royal Earl Thompson]

You come near her, I'll blow your heart out. Why, Arthur, I'm your pa. Yeah, yeah. More's a pity. Boy, you young whelp. I can still beat the stuff on. How do you? Go on, try it. That's right in your line, isn't it? You'd like to do that. Please don't.

[Eva Le Gallienne]

Ellie.

[Virginia Payne]

Mama.

[Eva Le Gallienne]

Mama.

[Virginia Payne]

Art, look at her.

[Royal Earl Thompson]

She's fainted. Get the ammonia. Get it yourself. I'm not gonna leave you here. Go on, Art.

[Virginia Payne]

Go on.

[Royal Earl Thompson]

I'll stay.

[Virginia Payne]

Ma. Ma, don't die.

[Eva Le Gallienne]

Don't die.

[Royal Earl Thompson]

Herbert, you cut out that talk.

[Eva Le Gallienne]

You shut up.

[Virginia Payne]

Mama. Herbert. Take it easy, Ma, you're gonna be all right. Nothing. Why don't you wear it around?

[Royal Earl Thompson]

Here's ammonia. L. A.

[Eva Le Gallienne]

Now she's fainted again. Give me that bottle, Art.

[Royal Earl Thompson]

Boys, I reckon I'll ride over and get the doctor. Don't look like all this fainting is a good sign. All right, go on. Go now. You'll keep watch till I get back. I'm going now. Don't you boys get any notions in your head. I never did your mother any harm in my life. Well, look after her. Is he out? I think so.

[Virginia Payne]

Gee, R. Shut up.

[Royal Earl Thompson]

Where's that ammonia? Here, Ma.

[Eva Le Gallienne]

Take it easy.

[Royal Earl Thompson]

No, no. It's all right, Ma. Everything's all right.

[Virginia Payne]

Father, what happened?

[Eva Le Gallienne]

Nothing, Ma.

[Royal Earl Thompson]

Nothing.

[Virginia Payne]

Pa's gone for the doctor. You don't need any doctor.

[Royal Earl Thompson]

Just lie still, Ma.

[Virginia Payne]

It's fun. I must have been dreaming. I thought I heard Mr. Helton out there playing his harmonica like he used to. He ain't there, ma. Nobody's there. Mr. Hilton. He was a good man, your father. He's a good man, too. I don't want you boys thinking any different.

[Royal Earl Thompson]

Sure, Ma. Sure. Doctor be here pretty soon.

[Virginia Payne]

He told the truth. He must have told the truth. He wouldn't lie. I'll go. Just take it easy, Ma. Everything's gonna be all. Mr. Thompson was down at the end of the second field. The shotgun was laying alongside him. And there was a note he'd written before Almighty God, I do hereby solemnly swear that I did not take the life of Mr. Homer T. Hatch on purpose. It was done in defense of Mr. Hilton. I did not aim to hit him with the axe. But only to keep him off Mr. Helton. It was my belief at the time that Mr. Hatch would have taken the life of Mr. Helton if I did not interfere. I have told all this to the judge and the jury and they let me off. But nobody believes it. This is the only way I can prove I am not a cold blooded murderer like everybody seems to think. I'd done the only thing there was to do. The next line he had written my wife. And then he scratched that out. It was Mr. Homer Thach who come 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. So that's the way it was. Folks are being kind now. I reckon you have to go on living some way. But that tune. They said it was about a man drinking up all his noon wine. He felt so good in the morning. If only that tune wouldn't keep running in my head.