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(John-Boy) WHEN I WAS GROWING UP ON WALTON'S MOUNTAIN
I USED TO DREAM OF ALL THE FARAWAY PLACES I WOULD ONE DAY VISIT.
NEW YORK CITY CAPTURED MY IMAGINATION MOST COMPLETELY,
BECAUSE IT WAS A MECCA FOR YOUNG ASPIRING ARTISTS AND WRITERS.
I WASN'T TO STRAY THAT FAR FROM HOME FOR SEVERAL YEARS,
BUT I WAS DUE FOR A SPECIAL PREVIEW.
ONE DAY, WITHOUT ANY WARNING,
A NEW YORK HURRICANE HIT OUR PEACEFUL COMMUNITY.
YOU JUDAS.
[truck approaching]
THAT'S IT, UP AHEAD.
SHOOEY!
WHAT KIND OF CAR IS THAT?
CADILLAC, SPECIALLY BUILT.
AAH.
WHO'S THAT LADY?
THAT LADY IS MY EMPLOYER.
[truck engine idling]
WHAT A BEAUTIFUL WOMAN.
YEAH.
IF YOU LIKE DRAGONS.
WHERE THE DEUCE HAVE YOU BEEN?
DO YOU REALIZE YOU'VE LEFT ME ABANDONED IN THIS WILDERNESS FOR HOURS?
I COULD HAVE BEEN ABDUCTED BY BANDITS OR TORN APART BY WOLVES.
(Alvira) DO YOU CARE TO EXPLAIN YOURSELF?
(Rex) SORRY, MA'AM.
SORRY?
WHO'S THAT?
HE'S GONNA TOW US BACK TO THE GARAGE, SUCH AS IT IS.
YOUNG MAN, WOULD YOU BE GOOD ENOUGH
TO TELL US WHERE IN THESE UNITED STATES WE ARE?
EXCUSE ME, BUT AREN'T YOU HER?
WHAT?
ALVIRA DRUMMOND.
AREN'T YOU ALVIRA DRUMMOND?
WHY, YOU DARLING BOY!
(Alvira) A FAN. WAY OUT HERE IN WHEREVER WE ARE.
OH, I'VE SEEN YOU IN THE MOVING PICTURES
AND YOUR PICTURE ON THE PAPER, AND HEARD YOUR VOICE ON THE RADIO.
YOU'RE JUST ABOUT MY FAVORITE ACTRESS.
OH, ISN'T THAT SWEET.
DID YOU HEAR THAT, REX?
YEAH, I HEARD.
(Alvira) WELL, GO ON.
OH, MY SISTER, MARY ELLEN, EVEN WROTE YOU A LETTER ONCE.
AND YOU SENT HER A PERSONALLY AUTOGRAPHED PHOTO FOR FREE.
DID I?
[chuckling]
WELL, I CAN'T GET OVER IT.
FANS, WAY OUT HERE IN THE ROCKY MOUNTAINS.
BLUE RIDGE MOUNTAINS.
THAT'S WHAT I SAID.
YOU KNOW,
I ALWAYS HAD A PLACE IN MY HEART
FOR THE BLUE RIDGE MOUNTAINS OF KENTUCKY, AND NOW I KNOW WHY.
VIRGINIA.
WHAT?
(Rex) THEY'RE IN VIRGINIA.
IF I WANT A GEOGRAPHY LESSON, I'LL ASK FOR IT.
WELL, MISS DRUMMOND, WHAT BRINGS YOU SO FAR FROM THE GREAT WHITE WAY?
[both laughing]
THAT'S A GOOD QUESTION, DARLING.
WELL, MY ROTTEN CAR BROKE DOWN ON THE MAIN HIGHWAY,
AND MY BRILLIANT CHAUFFEUR
DECIDED WE SHOULD DETOUR AND LOOK FOR A GARAGE.
OF ALL PEOPLE! ALVIRA DRUMMOND, HERE ON WALTON'S MOUNTAIN!
WHOEVER WOULD HAVE THOUGHT OF IT!
WALTON'S MOUNTAIN! WHO, INDEED!
OK, WE CAN GO NOW.
WOULD YOU LIKE TO RIDE UP FRONT WITH ME?
MY DARLING, I WOULDN'T HAVE IT ANY OTHER WAY.
OK.
GET IN THE BACK.
THAT BAD, HUH?
COULD BE.
I CAN'T TELL FOR SURE UNTIL I GET INSIDE, THOUGH.
WELL, HOW MUCH LONGER WILL THAT TAKE?A
UH, 3 OR 4 HOURS, AT LEAST, I RECKON.
BUT IT'LL BE DARK BY THEN.
CAN'T YOU WORK ANY FASTER?
I'LL DO THE BEST I CAN, UH.
IT'S GONNA TAKE A WHILE.
THEN JUST POINT ME IN THE DIRECTION OF THE NEAREST RESTAURANT.
ALL I WANT NOW IS A DOUBLE MARTINI AND A HOT MEAL.
(John-Boy) MISS DRUMMOND.
I'M SORRY, BUT I DON'T THINK YOU'RE GONNA FIND
A REAL RESTAURANT ON WALTON'S MOUNTAIN.
NO RESTAURANT?
WHERE DO THE PEOPLE EAT?
WELL, UH, I'D GIVE YOU A CHEESE SANDWICH.
AND YOU CAN WASH IT DOWN WITH A BOTTLE OF POP.
HOW'S THE HITCHHIKING?
MAYBE I COULD MAKE IT BACK TO CIVILIZATION BY DARK.
WELL, MISS DRUMMOND, YOU'D BE WELCOME
TO COME HOME WITH ME FOR SUPPER.
OH, DARLING, I WASN'T ANGLING FOR AN INVITATION, HONESTLY.
OH, NO, WE'D BE HONORED.
IT WON'T BE FANCY, BUT MY MOTHER'S A FINE COOK.
I JUST CAN'T BARGE IN UNANNOUNCED.
WOULD YOU JUST LET ME WORRY ABOUT THAT, ALL RIGHT?
OK.
WELL, YOU JUST COME ALONG WITH ME, HEAR?
ALL RIGHT.
OK, LET'S GO. SEE YOU LATER, IKE.
AN ACTRESS, IN THIS HOUSE?
OH, JOHN-BOY, NOW--
BUT GRANDMA, SHE ISN'T JUST ANY OLD ACTRESS.
ALVIRA DRUMMOND IS A STAR.
THAT'S EVEN WORSE!
(Livie) NOW, WE DON'T KNOW ANYTHING ABOUT HER.
SHE COULD BE A NICE WOMAN.
(Mary Ellen) RIGHT. REMEMBER SHE ANSWERED MY LETTER
AND SENT ME HER PICTURE?
[all laughing]
CHILDREN. COME AWAY FROM THERE.
SHE'LL THINK YOU WERE BROUGHT UP WITH NO MANNERS.
WHAT ABOUT HER MANNERS?
SHE STUCK HER TONGUE OUT AT US LIKE THIS.
(all) YEAH.
AND I DON'T WONDER, STARING AT HER
LIKE A BUNCH OF WILD SAVAGES.
GO ON UPSTAIRS NOW, AND GET WASHED UP FOR SUPPER.
BUT, MAMA, WE WANT TO SEE HER.
[all shouting]
(Jason) HOW OFTEN DOES SOMETHING LIKE THIS HAPPEN?
MAMA WON'T EVEN LET US SEE HER.
WHAT'S GOIN' ON?
I THOUGHT THAT CELEBRITY WAS COMIN' IN.
JOHN-BOY, YOU WANT TO ASK THE LADY TO COME IN?
YES, SIR.
HOT DIGGITY DOG!
I THOUGHT I TOLD YOU TO WASH UP, YOUNG LADY.
LOOK AT HIM. HE'S WORSE THAN THE CHILDREN.
(Grandma) DON'T STRAIN YOUR EYES, OLD MAN.
IT'S NO STRAIN AT ALL TO LOOK AT A KNOCKOUT LIKE HER.
NOW WHAT ARE YOU UP TO?
ESTHER, I THOUGHT I'D JUST CHANGE INTO A CLEAN SHIRT.
EVERYONE, THIS IS MISS ALVIRA DRUMMOND.
HELLO.
THANKS FOR LETTING ME INTRUDE LIKE THIS.
YOU'RE NOT INTRUDIN', AND--AND YOU ARE WELCOME.
(John) WHY DON'T YOU COME ON IN, MAKE YOURSELF AT HOME.
THANK YOU.
JOHN-BOY, WHY DON'T YOU TAKE MISS DRUMMOND'S, UH, FUR?
OH, YES, OF COURSE.
THANKS, DARLING.
OH, THAT'S MUCH BETTER.
(Alvira) I DIDN'T REALIZE HOW WARM IT WAS.
WELL, YOU SEE,
THEY WERE OPENING THIS NEW THEATER IN ATLANTA,
AND THEY ASKED ME TO COME AND RECREATE
THE ROLE GERTIE LAWRENCE PLAYED
ON BROADWAY IN PRIVATE LIVES.
THAT'S A PLAY BY MR. NOEL COWARD.
YES, THAT'S RIGHT.
OH!
MY DARLING NOEL.
SUCH A DIVINELY WITTY MAN.
AS A MATTER OF FACT, HE ASKED ME TO PLAY THE PART ORIGINALLY,
BUT I WAS IN HOLLYWOOD AT THE TIME.
HOLLYWOOD?
WHY'D YOU EVER LEAVE THERE?
WELL, DARLING, THE MONEY IS MARVELOUS, OF COURSE, BUT IT'S JUST NOT THEATER.
I WISH I COULD HAVE SEEN YOU IN PRIVATE LIVES.
I BET YOU WERE WONDERFUL.
HMM, I WAS SENSATIONAL, SWEETIE.
BUT I'M AFRAID THE PLAY WENT RIGHT OVER THOSE HEADS.
YOU KNOW THOSE PROVINCIAL AUDIENCES.
[cutlery clanking]
ANYWAY, THERE WE WERE, MOTORING BACK TO NEW YORK
WHEN SUDDENLY THE CAR STOPPED, AND VOILA!
HERE I AM, EATING THIS SCRUMPTIOUS CHICKEN STEW.
JOHN-BOY SAYS YOU HAVE A SPECIAL BUILT CADILLAC?
WHICH ONE ARE YOU?
I'M BEN.
YOU ARE A DIVINE CHILD.
WHAT WERE YOU SAYIN'?
THAT'S ABOUT THE MOST EXPENSIVE CAR BUILT.
YES, IT'S RIGHT. $10,000.
THAT'S NEW, OF COURSE.
RIGHT NOW IT'S PROBABLY WORTH PEANUTS.
ARE YOU A MILLIONAIRE?
(Livie) JIM-BOB!
YOU GOT TO BE A MILLIONAIRE TO OWN A CAR LIKE THAT.
[chuckling]
DON'T YOU BELIEVE IT, SWEETIE.
I MAKE IT A POLICY NEVER TO BUY ANYTHING FOR MYSELF.
YOU MEAN IT WAS A GIFT FROM AN ADMIRER?
MMM-HMM.
AND THE FURS, AND THE JEWELS.
(John) OH, THAT'S A HEAP OF ADMIRATION.
HE MUST BE RIGHT FOND OF YOU.
HMM.
HE WAS.
UNFORTUNATELY HE DIED.
OH, I'M SORRY.
SO WAS I.
TILL I FOUND OUT HE LEFT EVERYTHING TO HIS WIFE.
[giggles]
BUT THANKS ALL THE SAME, SWEETIE.
JOHN-BOY,
COME.
EXCUSE ME.
MMM, THIS IS MARVELOUS STEW.
WHAT IS IT?
YOU RUN OVER TO THE STORE AND FIND OUT
WHAT'S TAKIN' THAT GODSEY SO LONG.
GRANDMA, I HAVEN'T EVEN FINISHED MY SUPPER YET.
RUN ALONG NOW.
[Alvira chattering]
I-I'LL KEEP YOUR SUPPER WARM FOR YOU.
[John chattering]
[Alvira chuckles]
(Alvira) I'VE OFTEN THOUGHT IT WOULD BE A GREAT LARK
TO BUY 40 ACRES SOMEWHERE AND SETTLE DOWN.
OH, I REMEMBER A NIGHT IN CHICAGO,
WE WERE JUST ABOUT TO GO ON STAGE.
AS A MATTER, I DON'T THINK I COULD'VE GONE ON STAGE
IF IT HADN'T BEEN FOR MY FRIENDS, THE LUNTS.
MY! THAT LYNN'S A REAL TROOPER, YOU KNOW.
WOULD YOU CARE FOR SOME BREAD, MISS DRUMMOND?
OH, THANKS, BUT NO THANKS.
AND CALL ME ALVIRA, DARLIN'.
(Grandpa) IT'S HOMEMADE BREAD, ALVIRA.
NOW, DON'T YOU TEMPT ME, YOU OLD DEVIL, YOU.
I'VE GOT TO KEEP AN EYE ON MY FIGURE.
IT APPEARS REAL TRIM TO ME, ALVIRA, DARLIN'.
[Alvira chuckles]
(Alvira) WELL, THANKS.
YOU KNOW, AN ACTRESS' CHIEF ASSET IS HER BODY.
IT PAYS HER TO LOOK AFTER IT.
LADY, I DON'T THINK YOU HAVE A THING IN THE WORLD TO WORRY ABOUT.
[laughing]
WHY, JOHN WALTON, I DO DECLARE, YOU ARE MAKIN' ME BLUSH RED.
MORE STEW?
NO, I REALLY SHOULDN'T.
FIDDLESTICKS!
YOU HAVEN'T A THING TO WORRY ABOUT, DIDN'T YOU HEAR?
LET'S NOT OVERDO IT.
I'LL BURST MY SEAMS IF I EAT ALL THAT.
WHERE ARE MY MANNERS?
HERE.
WHAT'S THIS?
WELL, NOW, YOU DON'T WANT TO SPOT THAT PRETTY NEW DRESS, DO YOU, HMM?
[Grandpa laughing]
SEE THIS?
THAT CAR AIN'T GOIN' NO PLACE
WITHOUT A NEW ONE OF THESE.
[whistles]
DID YOU CHECK WITH THE GARAGE OVER AT CHARLOTTESVILLE?
I ALREADY PHONED. THEY HAVE TO SEND TO CHICAGO FOR NEW PARTS.
CHICAGO?
THAT'S RIGHT.
IT'S GONNA TAKE A WEEK AT LEAST.
HMM, SHE'S NOT GONNA LIKE THAT.
WHERE'S HER DRIVER?
SHE AIN'T GONNA LIKE THAT, EITHER.
HE SKIPPED TOWN.
THAT WRETCHED MAN!
HOW COULD HE DO THIS TO ME?
DID IKE KNOW WHERE HE WAS HEADED?
SEEMS HE HITCHED A RIDE WITH YANCY TUCKER TOWARDS RICHMOND.
WHAT'LL I DO NOW?
I DON'T EVEN KNOW HOW TO DRIVE.
AND I-I'M STRANDED.
THERE'S NO NEED TO WORRY.
UH, I CAN DRIVE YOU TO CHARLOTTESVILLE.
YOU CAN STAY IN A HOTEL TONIGHT,
TAKE A TRAIN TO NEW YORK IN THE MORNING.
BUT YOU DON'T SEEM TO UNDERSTAND.
I TRUSTED HIM WITH EVERYTHING.
WHAT DO YOU MEAN "EVERYTHING"?
MY MONEY, MY JEWELS, EVERYTHING.
YOU MEAN HE TOOK IT ALL?
I DON'T EVEN HAVE THE TRAIN FARE TO NEW YORK.
OH, I'VE BEEN ABANDONED WITHOUT A SOU, AND NO ONE TO TURN TO.
MISS DRUMMOND, WE'RE NOT ABOUT TO TURN YOU OUT
IN THE DEAD OF NIGHT.
YES.
I THROW MYSELF ON YOUR MERCY.
JOHN-BOY, GET SOME BEDCLOTHES
AND I'LL, UH, I'LL MAKE UP A PLACE ON THE COUCH.
YES, MA'AM.
I'LL GET 'EM RIGHT AWAY.
(Grandma) AHEM.
WHOEVER HEARD OF A BODY STAYING IN BED UNTIL NOON?
IT'S DOWNRIGHT SINFUL.
IT ISN'T 1:00 YET, GRANDMA.
SHE ALWAYS SLEEPS UNTIL 1:00.
WELL, NOT TODAY, SHE DON'T.
(Mary Ellen) SHE NEEDS HER BEAUTY SLEEP, GRANDMA.
AND I NEED MY LUNCH.
I GUESS YOU'LL JUST HAVE TO WAKE HER UP.
OH, OH, MY GOD!
WHAT THE--
SLIPPED RIGHT THROUGH MY FINGERS.
GOOD MORNING.
(John and Grandpa) GOOD MORNING.
[children giggling]
SHH.
YOU'LL HAVE SOME LUNCH?
OH, DARLIN', NOT BEFORE COFFEE AND A CIGARETTE. THANK YOU.
GRANDMA DOESN'T LIKE LADIES SMOKING CIGARETTES.
IF THE GOOD LORD HAD INTENDED PEOPLE TO SMOKE,
HE'D HAVE PUT A CHIMNEY ON THE TOP OF THEIR HEAD.
I'LL HAVE IT LATER BEHIND THE WOODSHED.
THAT'S WHERE JASON GOES.
I DO NOT!
YOU DO, TOO.
YOU TAKE THAT BACK, ERIN!
YOU'RE CRAZY!
THAT'LL DO, CHILDREN.
BUT, MAMA, I'VE NEVER--
WE'LL TALK ABOUT THIS LATER, SON.
GOTTA GET OVER TO THE STORE FOR THAT NEW SAW BLADE.
OH, YOU FINALLY GIVE UP ON THAT OLD BLADE, HUH?
I'M AFRAID SO, GRANDPA.
I'LL STOP BY AT SHERIFF BRIDGES OFFICE
AND FIND OUT ABOUT THAT DRIVER, IF YOU LIKE.
OH, DON'T BOTHER.
HE'S PROBABLY IN ICELAND BY NOW.
MAYBE EP'S HEARD SOMETHIN'.
IT'S WORTH A TRY. SEE YOU ALL LATER.
(all) BYE, DADDY.
I TELL YOU, MISS DRUMMOND,
I'D LIKE TO GET MY HANDS ON THAT DRIVER OF YOURS.
REX?
OH, DON'T MESS WITH HIM, SWEETIE.
HE'S AN EX-PRIZE FIGHTER.
THANKS FOR THE THOUGHT, ANYWAY.
YOU'VE DECIDED WHAT YOU'RE GONNA DO, MISS DRUMMOND?
CALL MY AGENT.
GET HIM TO SEND ME THE TRAIN FARE TO NEW YORK.
MAY I USE YOUR PHONE?
WE HAVEN'T GOT ONE.
[scoffs]
HOW COULD YOU POSSIBLY MANAGE WITHOUT A TELEPHONE?
WE CAN'T AFFORD ONE.
OH.
WELL, NOW THERE'S A PHONE DOWN AT THE STORE.
I COULD WALK YOU DOWN THERE, IF YOU LIKE.
GOOD.
YEAH, ME, TOO!
WE'LL ALL GO.
OH, MAMA, THEY'RE JUST GONNA HOLLER AND FUSS
AND MISS DRUMMOND WON'T BE ABLE TO HEAR A THING ON THE PHONE.
YOU'LL BE THERE TO KEEP THE PEACE.
HA-HA-HA.
THEY THINK I'M SOME KIND OF OLD MOTHER HEN. BUT I'M REALLY 17.
REALLY?
I THOUGHT YOU WERE SO MUCH OLDER.
JIM-BOB.
WHAT'S THE MATTER, YOU FALL IN?
TOUGH BEING THE ELDEST, ISN'T IT?
I GUESS SOMETIMES IT IS.
I HAD 3 BROTHERS AND A SISTER TO LOOK AFTER UNTIL I WAS 15.
YOU DID?
WELL, I WASN'T HATCHED, YOU KNOW.
I DID HAVE A FAMILY.
THEY WEREN'T AS NICE AS YOURS.
I WISH THEY WERE.
THERE'S THE BALDWIN'S CAR.
YOU'LL GET TO MEET 'EM.
WHO ARE THE BALDWINS?
THEY ARE NICE LITTLE OLD LADIES.
THEY ARE SISTERS.
YOU'LL LIKE 'EM.
YEAH, ONCE THEY GAVE ME CHOCOLATE PUDDING.
THEY MAKE WHISKEY.
SHH.
WELL, THEY DON'T KNOW IT'S WHISKEY.
HOW COULD THEY POSSIBLY NOT KNOW?
WELL, THEY USE AN OLD RECIPE OF THEIR DADDY'S
AND A STILL THAT HE LEFT IN THE HOUSE.
THEY THINK IT'S SOME KIND OF ELIXIR.
[giggling] ELIXIR?
BUT I'VE TASTED IT, AND I KNOW IT'S WHISKEY.
[all laughing]
LET'S SEE. THAT'S ABOUT IT, LADIES.
OH, THANK YOU, MR. GODSEY.
GOOD DAY.
[shop-bell ringing]
OH, LOOK WHO'S HERE!
MISS MAMIE, MISS EMILY BALDWIN, THIS IS MISS ALVIRA DRUMMOND.
OH, IT'S A PLEASURE. I'M SURE.
WE'VE BEEN FANS OF YOURS
EVER SINCE WE SAW YOU IN THE CRIMSON LADY.
OH, THAT WAS AGES AGO.
I SIMPLY WEPT.
REALLY?
IT WAS A COMEDY.
WELL, MY SISTER MEANS WE LAUGHED SO HARD WE CRIED.
OH.
OUR FATHER, THE LATE JUDGE BALDWIN,
DROVE US ALL THE WAY TO RICHMOND ONCE
JUST TO SEE YOUR PERFORMANCE IN ROMEO AND JULIET.
OH.
HE WAS A VERY CULTIVATED GENTLEMAN,
AND HE PARTICULARLY ADMIRED THE PLAYS OF MR. WILLIAM SHAKESPEARE.
BUT PAPA THOUGHT THAT MR. GEORGE BERNARD SHAW WAS TOO RADICAL
AND HE POSITIVELY FORBADE US TO READ HIM.
(Emily) SO WE DIDN'T.
OH.
WHY DON'T YOU PAY US A LITTLE VISIT WHILE YOU'RE HERE
AND SHARE SOME OF PAPA'S RECIPE WITH US?
OH, HOW NICE OF YOU. I'D LOVE IT.
BUT YOU SEE, I EXPECT TO BE LEAVING FOR NEW YORK CITY VERY SOON.
NOW, IF YOU'LL FORGIVE ME, I HAVE TO MAKE A LONG DISTANCE PHONE CALL.
IT'S SO NICE TO SEE YOU.
OH, THANK YOU.
LOVELY TO SEE YOU.
IS IT ALL RIGHT IF SHE USES YOUR PHONE?
SURE.
OH, WELL, JOHN-BOY, BYE-BYE.
BYE.
(all) GOODBYE!
HELLO, MISS DRUMMOND.
I HAVE YOUR CALL FOR NEW YORK.
OH, THANK YOU, DARLING.
(Harry) HELLO.
IT'S ALVIRA.
BELIEVE IT OR NOT, I'M STRANDED.
I NEED YOU TO SEND ME THE TRAIN FARE TO NEW YORK.
OH, OH, DARLING, IT'S A LONG STORY
AND I WOULDN'T WANT TO BORE YOU WITH IT NOW.
JUST TELEGRAPH ME THE MONEY TO CHARLOTTESVILLE.
THAT'S IN VIRGINIA.
[Harry chattering indistinctly]
NO, DARLING, I'M NOT JOKING.
I REALLY AM IN A JAM.
[Harry continues chattering indistinctly]
W-WHAT DID YOU SAY, HARRY? I DIDN'T HEAR YOU.
OH, HARRY, YOU ARE AN ANGEL.
I KNEW I COULD COUNT ON YOU.
THANK YOU, DARLING.
I'LL ALWAYS BE IN YOUR DEBT.
AND IF THERE'S ANY TIME I CAN DO ANYTHING FOR YOU, JUST LET ME KNOW.
AU REVOIR, DARLING.
WELL, WHAT DID I TELL YOU, IT'S IN THE BAG.
WELL, I DECLARE.
[rustling]
HI.
COME ON IN, SWEETIE.
YOU'RE NOT BOTHERIN' ME.
WHAT'VE YOU GOT THERE?
MY MEMORY BOOK.
REALLY? I USED TO HAVE ONE MYSELF ONCE.
WOULD YOU LIKE TO SEE IT?
I'D LOVE TO.
MADE THAT YOURSELF, DIDN'T YOU?
MMM-HMM.
MMM, LOOK AT YOU THERE.
[giggling]
[sighs]
BUT, DARLING, THIS STUFF'S ABOUT ME.
MMM-HMM. THAT'S THE PICTURE YOU SENT ME.
SEE, YOU EVEN SIGNED IT.
[chuckling]
WHAT A RELIC.
WILL YOU LOOK AT THAT POSE?
I LOVE THE BOOTS.
MAMA USED TO HAVE SOME OF THOSE.
[both laughing]
LOOK AT THAT!
HMM?
I WAS WONDERING, NOW THAT WE'RE FRIENDS,
MAYBE YOU'D WRITE SOMETHING PERSONAL.
WHY, SURE. I'D BE GLAD TO.
LET'S DO IT ON THIS ONE.
YOU LIKE THAT?
YOU CAN SEE RIGHT THROUGH IT.
YOU KNOW, I'M NEVER WITHOUT THAT.
SUPERSTITIOUS, I GUESS.
I--I USED THAT THE FIRST TIME I WAS ON STAGE IN A PLAY,
AND I'VE NEVER BEEN WITHOUT IT SINCE.
DO YOU MIND IF I TRY IT ON?
SURE, GO AHEAD.
HEY, YOU KNOW, YOU'RE KIND OF A PRETTY KID.
I DON'T FEEL PRETTY. I FEEL LIKE A MESS.
DO YOU? I REMEMBER THAT FEELING.
LISTEN, IS THERE A FULL LENGTH MIRROR IN THIS HOUSE?
IN MY ROOM. WHY?
COME ON. I'M GONNA SHOW YOU SOME TRICKS OF THE TRADE.
[sighs]
[mumbles]
[all chattering]
(Mary Ellen) DADDY.
PUT ON YOUR NAPKINS, COME ON.
HOW DO I LOOK?
[all giggling]
(Jason) SHE LOOKS LIKE SOME KIND OF MOVIE STAR!
[all exclaiming]
THEY'RE RIGHT. LOOK AT THAT CHILD.
PAINTED UP LIKE A CARNIVAL DOLL.
MARY ELLEN,
SOMEDAY YOU ARE GONNA BE A BEAUTIFUL WOMAN.
RIGHT NOW, I KIND OF MISS MY LITTLE GIRL.
[crying]
MARY ELLEN.
DARLING, WAIT.
[door closing]
OH, I'M TERRIBLY SORRY. IT'S ALL MY FAULT.
SHE IS A LITTLE YOUNG FOR SUCH NOTIONS, MISS DRUMMOND.
BUT I TRULY DIDN'T MEAN ANY HARM.
IT'S ALL RIGHT.
WHY DON'T YOU COME TO SUPPER?
AFTER SUPPER JOHN WILL DRIVE YOU OVER TO CHARLOTTESVILLE.
YES, OF COURSE.
[screaming]
ARE YOU ALL RIGHT?
OH! OH!
OH, DARLING, I MAY NEVER WALK AGAIN.
[Alvira groaning]
HUH.
WELL, WHERE IS IT?
"AT NIGHT ACROSS THE MOUNTAIN, WHEN DARKNESS FALLS,
"AND THE WINDS SWEEP DOWN OUT OF THE HOLLOWS,
"THE WILD THINGS WITH THEIR SHINY EYES
"COME TO THE EDGE OF THE CLEARING. AT SUCH--"
(John-Boy) WHERE'S MY TABLET? I'VE TOLD YOU KIDS
A MILLION TIMES TO STAY AWAY FROM IT.
NOW WHERE IS IT?
IS THIS WHAT YOU MEAN?
YES, MA'AM.
YOU HAVEN'T BEEN READING IT, HAVE YOU?
ACTUALLY, I ASKED JIM-BOB TO FIND ME SOME WRITING PAPER,
AND WHEN HE BROUGHT THIS...
I NEVER REALIZED.
DO FORGIVE ME.
OH, IT'S ALL RIGHT, BUT--BUT IT'S NOT VERY GOOD.
AND IF I'D KNOWN YOU WANT TO READ IT,
I WOULD HAVE MADE YOU A NEAT COPY.
HERE.
IT WAS WRONG OF ME NOT TO ASK YOUR PERMISSION
BUT IT IS GOOD.
VERY GOOD.
WELL,
IT'S--IT'S JUST THAT
HARDLY ANYBODY EVER READS THE THINGS IN HERE BUT ME.
WELL, MORE'S THE PITY.
HOW ELSE IS THE WORLD TO KNOW HOW BEAUTIFULLY YOU WRITE?
WELL.
[sighs]
IF YOU REALLY LIKE IT,
I'VE GOT STACKS OF IT UP IN MY ROOM.
DO YOU?
MORE FRILLY THINGS TO WASH AND IRON, COMPLIMENTS OF HER HIGHNESS.
IT'S A CRIME THE WAY SHE'S GOT THIS FAMILY HOPPIN'.
HOUSE TURNED UPSIDE DOWN, CAN'T USE YOUR OWN LIVING ROOM,
RADIO BLARING TILL ALL HOURS.
I DON'T KNOW HOW YOU'VE PUT UP WITH IT THESE PAST FEW DAYS, LIVIE.
OH, I RECKON WE CAN PUT UP WITH HER FOR ANOTHER WEEK OR SO.
SHE OUGHT TO BE ON HER FEET BY THEN.
PRAISE THE LORD!
DID YOU MAKE OUT THE GROCERY LIST?
IT'S ON THE TABLE.
I'LL SEE IF I CAN PRY JOHN-BOY AND MARY ELLEN
AWAY FROM HER LADYSHIP FOR A FEW MINUTES.
(Sheriff) JOHN-BOY, MARY ELLEN.
SHERIFF BRIDGES, YOU GOT ANY NEWS
ABOUT MISS DRUMMOND'S DRIVER?
I CHECKED OUT THE ROADHOUSE
WHERE YANCY DROPPED HIM OFF. A PLACE CALLED THE FLAMINGO.
NO.
I ASKED IF HE'S STILL AROUND.
THEY SAID THEY RECKON HE LEFT.
YOU GOT ANY IDEA WHERE HE MIGHT HAVE GONE FROM THERE?
NO. I'M AFRAID MISS DRUMMOND'S GONNA HAVE TO FORGET ABOUT HER DRIVER,
HER MONEY AND HER JEWELS.
WELL, THANK YOU.
SEE YOU LATER.
(both) HEY, IKE.
WHAT DO YOU NEED?
MAMA NEEDS A FEW THINGS.
OK.
HOW'S YOUR HOUSE GUEST?
REAL FINE.
I GUESS SHE'LL BE LEAVING PRETTY SOON.
I WOULDN'T BE TOO SURE OF THAT.
I THINK SHE'S GONNA BE AROUND HERE
JUST A LITTLE BIT LONGER THAN YOU SUSPECT.
HOW'S THAT?
WELL, AS A FRIEND OF YOUR FAMILY,
I THINK YOUR FOLKS OUGHT TO KNOW
THAT, UH, THE LADY'S IN A LITTLE HOT WATER.
MISS *** TATUM LISTENED IN
ON THAT TELEPHONE CONVERSATION TO NEW YORK.
AND IT SEEMS HER AGENT NEVER DID PROMISE TO SEND THE TRAIN FARE.
HUNG UP ON HER AND TOLD HER TO GO FLY A KITE.
I DON'T BELIEVE THAT.
MISS *** TATUM'S BEEN KNOWN TO STRETCH THE TRUTH
AND IT'S POSSIBLE THAT SHE'S GOSSIPIN' AGAIN.
YEAH, BUT DON'T YOU THINK THAT IT'S PECULIAR
THAT MISS DRUMMOND SHOULD JUST HAPPEN TO SPRAIN HER ANKLE
AND THEN SHE COULDN'T GO ANYWHERE?
IT STRIKES ME THAT MAYBE THAT'S THE DRIVER'S FAULT.
HE DID RUN OFF WITH EVERYTHING SHE OWNS, DIDN'T HE?
WELL, I WOULDN'T BE TOO SURE OF THAT, EITHER.
MAYBE HE LEFT BECAUSE SHE DIDN'T PAY HIM.
I WOULDN'T BE SURPRISED IF HE'S HANGIN' AROUND THE FLAMINGO RIGHT NOW.
DON'T TELL THE FAMILY JUST YET, MARY ELLEN.
HI.
HI, DADDY. UH,
DADDY, COULD I-- COULD I BORROW THE TRUCK?
IS IT IMPORTANT?
YES, SIR.
GOT SOME WORK OUT BACK, I GUESS SO.
HERE YOU GO.
OH, GREAT.
DON'T BE LATE.
I WON'T.
THANK YOU.
[door closing]
YOO-HOO.
COME IN.
AH, WHERE IS EVERYBODY?
OH. WELL, THE MEN ARE OUTSIDE
AND THE LADIES ARE UPSTAIRS, I GUESS.
OH, WELL, WE WON'T DISTURB THEM.
I JUST CAME TO DROP OFF A LITTLE REMEMBRANCE TO YOU.
IT'S SOME OF OUR PAPA'S RECIPE.
LADY, YOU ARE THE ANSWER TO MY PRAYERS.
OH. EVERYBODY FEELS THAT WAY ABOUT THE RECIPE.
WELL, I MUST BE OFF.
AND THANKS FOR THE RECIPE.
OH. IF YOU LIKE IT, THERE'S MORE WHERE THAT CAME FROM.
TOODLE-OO.
[door closing]
[car engine starting]
[sighs]
(Alvira) ♪ POOR BUTTERFLY ♪
♪ 'NEATH THE BLOSSOMS WAITING ♪
♪♪[Alvira humming]
(Grandpa) IT'S DRY AS A BONE OUT THERE.
THERE'S ONLY BEEN A COUPLE OF INCHES ALL YEAR.
♪ 'NEATH THE BLOSSOMS WAITING ♪
♪ LA, LA, LA, LA ♪
♪ TODAY ♪
WHAT'S GOING ON?
♪♪[Alvira continues humming]
♪ POOR ♪
HAS THAT WOMAN TAKEN LEAVE OF HER SENSES?
GRANDMA, IT APPEARS TO ME
SHE'S GOTTEN HOLD OF SOME RECIPE.
IT APPEARS MORE LIKELY IT'S GOT HOLD OF HER.
♪ WAITING POOR ♪
WELL, I WARNED YOU.
♪ FLY ♪
I WANT THAT WOMAN OUT OF THIS HOUSE.
♪ LOVED HIM SO ♪
♪ THE MOMENTS PASS INTO HOURS ♪♪
[sighing]
HOW IS SHE?
STILL SLEEPIN' IT OFF.
WHY DON'T YOU GO ON UP TO BED?
I'LL WAIT UP FOR THE BOY.
YOU KNOW I CAN'T SLEEP TILL HE GETS HOME.
COULDN'T GET TO SLEEP.
AH. I TOLD YOU.
YOU SHOULDN'T HAVE HAD ALL THEM ONIONS FOR SUPPER.
NOT THE ONIONS. IT'S HER.
AND JOHN-BOY.
ANY SIGNS OF HIM YET, JOHN?
NO, NOT YET.
MAYBE WE OUGHT TO...
[Reckless barking]
[car approaching]
SOMEBODY'S COME.
[door opening]
[door closing]
HEY, EVERYBODY.
WHAT YOU ALL DOING UP SO LATE?
MY LORD, BOY! WHAT HAPPENED?
I'VE BEEN IN A FIGHT.
WHY, THAT'S PLAIN TO SEE.
AT THE FLAMINGO.
THE VERY IDEA. BRAWLIN' IN A ROADHOUSE.
IT WASN'T MY FAULT.
MISS DRUMMOND'S DRIVER STARTED IT.
I JUST ASKED HIM A QUESTION.
MUST HAVE BEEN SOME QUESTION.
I JUST ASKED HIM IF HE ENJOYED
BEING A DIRTY, LOW-DOWN, COWARDLY SKUNK.
SOUNDS HARMLESS TO ME.
(Grandma) WHY DIDN'T YOU JUST CALL THE SHERIFF
AND HAVE HIM ARRESTED?
BECAUSE HE'S DONE NOTHING TO BE ARRESTED FOR.
I SUPPOSE RUNNIN' OFF WITH MISS DRUMMOND'S MONEY IS NOTHIN'.
[scoffs]
MAMA, MISS DRUMMOND DIDN'T HAVE ANY MONEY TO RUN OFF WITH.
(Grandma) WHAT ABOUT ALL THOSE JEWELS?
(John-Boy) IT SEEMS SHE PAWNED THE LAST OF THEM IN ATLANTA.
SHE OWED HIM 2 MONTH'S BACK PAY.
AND THAT'S WHY HE RAN OFF.
I GUESS HE JUST GOT FED UP.
THEY MUST HAVE PAID HER SOMETHING IN ATLANTA.
DADDY, SHE NEVER OPENED IN ATLANTA
BECAUSE THEY FIRED HER AND GOT ANOTHER ACTRESS TO TAKE OVER.
(John-Boy) IT SEEMS SHE'S GOT A BAD REPUTATION
FOR BEING TEMPERAMENTAL.
(Livie) I HOPE SHE STRAIGHTENS HERSELF OUT
WHEN SHE GETS BACK TO NEW YORK.
SHE IS NOT GOING BACK TO NEW YORK,
BECAUSE SHE'S GOT NO WAY TO GET THERE.
JOHN-BOY, YOU'RE TALKIN' NONSENSE.
NOW, YOU KNOW THERE'S TRAIN FARE WAITIN' FOR HER
AT THE WESTERN UNION IN CHARLOTTESVILLE.
THAT'S A LIE, TOO, BECAUSE MISS *** TATUM
SHH.
THAT HER AGENT JUST TURNED HER DOWN AND HUNG UP ON HER.
SAID HE WAS FED UP WITH HER TEMPER TANTRUMS, ONCE AND FOR ALL.
SHE DOESN'T EVEN HAVE ENOUGH MONEY TO GET HER CAR FIXED?
(John-Boy) NO.
DADDY, I RECKON SHE'S JUST PLUM RUN OUT OF LUCK.
THAT EXPLAINS A LOT OF THINGS.
POOR CREATURE.
NO PLACE TO GO, AND NOTHING BUT STRANGERS TO TURN TO.
WELL,
MAYBE THAT'S WHY SHE'S BEEN ACTIN' THE WAY SHE HAS.
WONDER WHAT WE'RE GONNA DO.
I'M SORRY FOR HER. I TRULY AM.
BUT, BUT I-I'VE GOT YOUNG CHILDREN TO CONSIDER,
I JUST CAN'T HAVE HER HERE IN THIS HOUSE.
(John-Boy) AND WHERE'S SHE GONNA GO?
I DON'T KNOW, JOHN-BOY.
WELL, I KNOW WHAT I'D DO IF I WAS A MAN AND I HAD THE MONEY.
I'D JUST TAKE HER TO NEW YORK CITY IN MY OWN AUTOMOBILE.
WE'LL DO WHAT WE CAN FOR HER, BUT SHE JUST CAN'T STAY HERE.
(Mary Ellen) MAMA.
IF IT WAS A MANGY OLD DOG WHO WAS STARVIN' TO DEATH,
YOU WOULDN'T SEND IT AWAY.
HOW CAN YOU DO THAT TO HER?
THAT'S JUST THE POINT, MARY ELLEN.
SHE'S NO DUMB ANIMAL.
SHE'S GOT A HEAD ON HER SHOULDERS
AND THE BRAINS GOD GAVE HER INSIDE OF IT.
OF COURSE SHE'S GOT TROUBLES. WE ALL HAVE.
BUT HERS ARE HER OWN DOING.
THEY SAY SOME PEOPLE ARE THEIR OWN WORST ENEMIES.
I SUSPECT MISS DRUMMOND IS A PRIME EXAMPLE OF THAT.
BUT YOU DON'T UNDERSTAND HER.
SHE'S NOT LIKE OTHER PEOPLE.
YOU CAN'T TURN HER AWAY.
WE CAN, AND WE'RE GOING TO.
MOM, HOW CAN YOU DO ANYTHING SO HATEFUL?
(John) MARY ELLEN.
I DON'T CARE.
[sobbing]
I'M NEVER GONNA SPEAK TO YOU AGAIN, AS LONG AS I LIVE!
MARY ELLEN.
SHE DIDN'T MEAN IT, LIV.
I THINK SHE DID.
IT'S TIME FOR HER TO LEARN THE FACTS OF LIFE NOW
BEFORE SHE TURNS INTO ANOTHER ALVIRA DRUMMOND.
(Alvira) BRAVO.
THE LAST THING THE WORLD NEEDS IS ANOTHER ALVIRA DRUMMOND.
THAT WASN'T MEANT FOR YOU TO HEAR.
NO, NO, DON'T APOLOGIZE FOR SPEAKIN' THE TRUTH.
GOD KNOWS, IT'S THE FIRST TIME IN YEARS
ANYONE HAS DARED TO.
I SUPPOSE I NEEDED A GOOD KICK IN THE PANTS TO BRING ME TO MY SENSES.
I WON'T BOTHER YOU ANYMORE.
I'LL PACK AND LEAVE THE FIRST THING IN THE MORNING.
LEAVE FOR WHERE?
ZEB'S RIGHT.
YOU GOTTA HAVE SOMEPLACE TO GO FROM HERE.
BACK TO NEW YORK, I GUESS
PICK UP THE PIECES.
WHERE YOU GOIN' TO GET THE TRAIN FARE?
[snickers]
GOOD QUESTION, DARLING.
MAYBE YOU COULD BORROW SOME MONEY ON THAT CAR OF YOURS.
[laughing sarcastically]
THAT CAR IS UP TO ITS HUB CAPS IN HOCK ALREADY.
MAYBE YOU COULD GET SOME KIND OF JOB.
HOW?
THE ONLY THING I KNOW IS ACTING.
IF ALL YOU KNOW IS ACTING, THEN WHY NOT ACT?
BECAUSE TO ACT, YOU NEED A STAGE AND AN AUDIENCE.
AND I'M FRESH OUT OF BOTH.
MISS DRUMMOND.
WE'RE OFF THE BEATEN TRACK HERE,
AND THEN, THERE ISN'T MUCH MONEY AROUND,
BUT I'M SURE PEOPLE WILL FIND SOME TO GET A GLIMPSE OF YOU.
REALLY?
YEAH.
I BET WE COULD EVEN GET IKE GODSEY TO LET US USE THE POOL HALL
FOR A--FOR A STAGE AND A THEATER.
MAYBE THE CHILDREN COULD PRINT UP SOME TICKETS.
LIKE WE DID FOR THE CHRISTMAS PLAY.
AND SPREAD THE WORD ALL OVER THE COUNTY.
WHY, WE'LL HAVE THEM HANGING FOR THE RAFTERS!
WHAT DO YOU SAY, MISS DRUMMOND?
SWEETIES, WHAT HAVE I GOT TO LOSE?
[all cheering]
HERE YOU ARE, LADIES.
THANK YOU.
JUST ON TIME.
(Erin) GOOD EVENING, MISS MAMIE.
OH, GOOD EVENING, ERIN.
[all chattering]
HI, EMILY.
HOW NICE.
THANK YOU.
UH-UH.
THIS TICKET'S COMPLIMENTS OF THE HOUSE
FOR THE FREE USE OF YOUR POOL HALL.
MR. WALTON, I DONATED THIS HALL,
AND I WANT TO PAY JUST LIKE ANYBODY ELSE.
ALL RIGHT, HAVE IT YOUR OWN WAY.
SHOW'S ABOUT TO BEGIN MOST ANY MINUTE.
WORRIED ABOUT MARY ELLEN?
I WAS HOPING SHE MIGHT DECIDE TO COME AFTER ALL.
I THOUGHT MISS DRUMMOND WAS GOING TO TALK TO HER.
SHE DID, BUT IT DIDN'T TAKE.
IT'S JUST A PHASE SHE'S GOING THROUGH, LIVIE.
NO, GRANDMA, I'M AFRAID SHE'S REALLY UPSET WITH ME THIS TIME.
SHE'S CUTTING OFF HER NOSE TO SPITE HER FACE
IF SHE DOESN'T SHOW UP TONIGHT.
THAT'S ABOUT ALL OF 'EM.
HERE, GRANDPA.
WELL, YOU ABOUT READY BACK THERE?
(Ben) WELL,
I'LL SEE.
JOHN-BOY, IT'S 7:30.
OK, WE'RE READY, WE'RE READY.
(Livie) GET ENOUGH FOR THE TRAIN FARE?
YES.
ALL SET?
YES, HOW'S THE HOUSE?
WELL, IT'S NOT GONNA MAKE YOU RICH,
BUT IT'LL GET YOU THAT TICKET.
THAT'S ALL I CARE ABOUT.
MISS DRUMMOND, THIS IS FOR YOU. IT'S A POEM
AND I DON'T WANT YOU TO READ IT
TILL YOU GET TO NEW YORK, ALL RIGHT?
OH, JOHN, YOU ARE AN ANGEL.
WELL, HOW DO I LOOK?
JUST BEAUTIFUL.
NOW WE BETTER GET STARTED.
OK, GOOD LUCK.
AHEM.
LADIES AND GENTLEMEN,
TONIGHT WE ARE HONORED BY THE PRESENCE OF A STAR.
I HAVE THE HONOR TO PRESENT TO YOU
ONE OF THE GREAT LADIES OF THE AMERICAN ST-STAGE,
MISS ALVIRA DRUMMOND.
JASON, MAY WE HAVE THE LIGHT?
[audience laughing]
[audience clapping]
THANK YOU, THANK YOU.
IT IS SAID THAT ACTORS ARE VERY SPECIAL PEOPLE.
THEY ARE BORN BETWEEN THE ACTS,
CRADLED IN DRESSER DRAWERS, AND NURTURED ON GREASE PAINT.
THEY COME ALIVE AT 8:30 EVERY NIGHT,
BUT ONLY IN THE PRESENCE OF AN AUDIENCE,
AND WHEN THEY DIE, THEY GO NOT TO HEAVEN, BUT TO THE THEATER.
[audience laughing]
WE ARE GATHERED TONIGHT
IN A LITTLE COUNTRY STORE IN THE BLUE RIDGE MOUNTAINS OF VIRGINIA
DURING SOMETHING CALLED THE DEPRESSION.
BUT THE TIME AND THE PLACE ARE NOT IMPORTANT.
WHAT IS IMPORTANT IS THAT YOU HAVE COME TO SEE A SHOW,
AND I AM TRULY PRIVILEGED TO PERFORM FOR YOU.
(Alvira) "O ROMEO, ROMEO!
"WHEREFORE ART THOU ROMEO?
"DENY THY FATHER AND REFUSE THY NAME
OR, IF THOU WILT NOT BE BUT SWORN MY LOVE"
[audience clapping]
"OUT, OUT, DAMNED SPOT! OUT, I SAY!
[dings]
"1...
[bell dings]
"2:
[bell dings]
"WHY, THEN, 'TIS TIME TO DO 'T.
"OH,
"HELL IS MURKY!
FIE, MY LORD, FIE!"
(Alvira) "THE QUALITY OF MERCY IS NOT STRAIN'D
"IT DROPPETH AS THE GENTLE RAIN FROM HEAVEN
"UPON THE PLACE BENEATH:
"IT IS TWICE BLESS'D
IT BLESSETH HIM THAT GIVES AND HIM THAT TAKES."
"WHAT'S THIS?
"A CUP, CLOSED IN MY TRUE LOVE'S HAND?
"POISON, I SEE, HATH BEEN HIS TIMELESS END.
"O CHURL!
"DRUNK ALL, AND LEFT NO FRIENDLY DROP TO HELP ME AFTER!
"I WILL KISS THY LIPS
"HAPLY, SOME POISON YET DOTH HANG ON THEM
"TO MAKE ME DIE WITH A RESTORATIVE.
AH!
"THY LIPS ARE WARM!
[gasps]
"YEA, NOISE?
"THEN I'LL BE BRIEF.
"O HAPPY DAGGER! THIS IS THY SHEATH
[audience gasping]
THERE REST, AND LET ME DIE."
[crying]
[audience whistling]
THANK YOU.
AND NOW, WITH THE SPECIAL PERMISSION OF A VERY YOUNG AUTHOR,
I WOULD LIKE TO READ TO YOU A PASSAGE
FROM HIS FIRST AND YET TO BE PUBLISHED NOVEL.
FROM WALTON'S MOUNTAIN
BY JOHN-BOY WALTON.
"AT NIGHT ACROSS THE MOUNTAIN WHEN DARKNESS FALLS
"AND THE WINDS SWEEP DOWN OUT OF THE HOLLOWS,
"THE WILD THINGS WITH THEIR SHINY EYES
"COME TO THE EDGE OF THE CLEARING.
"AT SUCH AN HOUR, THE HOUSE SEEMS SAFE AND WARM,
"AN ISLAND OF LIGHT AND LOVE IN A SEA OF DARKNESS.
"AT SUCH AN HOUR, THE WORD 'HOME' MUST HAVE COME INTO BEING,
"DREAMED UP BY SOME CREATURE THAT NEVER KNEW A HOME.
"IN HIS YEARNING THERE MUST HAVE COME TO MIND
"THE VISION OF A MOTHER'S FACE,
"A FATHER'S DEEP VOICE, THE AROMA OF FRESH BAKED BREAD,
"SUNSHINE IN A WINDOW, THE MUTED SOUNDS OF RAIN ON A ROOF,
"THE SIGH OF DEATH, THE CRY OF A NEWBORN BABE
"AND VOICES CALLING GOODNIGHT.
LIVIE.
"HOME,
"AN ISLAND,
"A REFUGE,
A HAVEN OF LOVE."
[audience clapping]
[audience whistling]
THANK YOU SO MUCH FOR EVERYTHING.
I'M TRULY GRATEFUL.
BYE, SWEETIE.
YOU PUT ON A GOOD SHOW.
THANK YOU SO MUCH.
GOODBYE, YOU DARLING MAN.
GOODBYE.
MARY ELLEN,
I THINK I'VE OUTGROWN THIS, WHY DON'T YOU KEEP IT FOR ME?
AND THE NEXT TIME YOU DECIDE YOU WANT TO BE IN SOMEBODY ELSE'S SHOES,
REMEMBER IT'S USUALLY A LOUSY FIT.
YES.
GONNA MAKE THAT AFTERNOON TRAIN TO NEW YORK, BETTER HURRY.
I'M AS READY AS I'LL EVER BE.
OH, TAKE GOOD CARE OF MY CAR FOR ME, WILL YOU?
I'LL SEND FOR IT WHEN I'M IN THE CHIPS AGAIN.
DON'T YOU WORRY.
MISS DRUMMOND.
JOHN.
BYE.
BYE.
YOU KNOW,
I DON'T KNOW WHAT IT IS ABOUT THIS PLACE,
MAYBE IT'S THE AIR,
BUT IT CERTAINLY MAKES YOU FEEL LIKE A NEW PERSON.
(Livie) BYE-BYE.
GOODBYE.
BYE.
GOOD LUCK.
BYE.
(all) BYE.
THANK YOU AGAIN.
[car engine starting]
(John-Boy) ALVIRA DRUMMOND WAS TO ENTERTAIN
AUDIENCES AGAIN ON THE NEW YORK STAGE,
BUT I DOUBT IF SHE EVER FOUND AN AUDIENCE AS APPRECIATIVE AS THAT GROUP
IN IKE GODSEY'S STORE ON WALTON'S MOUNTAIN.
(Erin) MAMA, MARY ELLEN'S BEING CRAZY AGAIN.
ACTING LIKE SHE'S STICKIN' A KNIFE IN HER STOMACH,
THEN FLOPPIN' ALL OVER THE FLOOR AND PRETENDING SHE'S DEAD.
(Mary Ellen) YOU DON'T KNOW ACTING WHEN YOU SEE IT.
I'M BEING JULIET.
(Livie) SETTLE DOWN THERE, GIRLS.
MAMA, YOU THINK I COULD BE AN ACTRESS WHEN I GROW UP?
I THINK YOU CAN BE ANYTHING YOU WANT TO BE, DARLING.
GOOD NIGHT, MAMA.
GOOD NIGHT, MARY ELLEN.
(male narrator) IN A MOMENT, SOME SCENES
FROM THE NEXT EPISODE OF THE WALTONS.