Original subtitles

A different sound, an unfamiliar shape or shadow

instantly alerts the creatures of the wild.

Growing up on Walton's Mountain,

seldom traveling far from the place we were born,

we came to share this immediate awareness

of something different, something new.

It seems now, in recollection,

that one of the milestone events of my 19th year

followed the appearance in our community

of something decidedly different.

Something none of us had ever seen before.

Would you mind holding my mule, please?

Hey, Ike, any mail?

No mail today, John-Boy.

What's all this? I'm making lunches for the movie company.

You heard about the movie that's being made, didn't you?

What movie?

You didn't know they're making a movie here?

They're making a movie on the mountain?

Is that what that truck was, out there? Yeah.

Well, I didn't know about it.

Well, there's a real movie company down here from New York, and

and... and they got lights and fancy motion picture cameras,

and today's the first day of shooting.

They're shooting down by the river.

They got any movie stars down there?

Sylvia Marsh and Gordon Farrell.

Sylvia Marsh and Gordon Farrell are on Walton's Mountain?

Right. I cannot believe it.

Excuse me, Mr. Godsey, I was asked to relay a message to you.

Well, of course. Uh, Mr. AJ Covington sends his regards.

AJ Covington? Yes.

The writer? Yes.

You mean, our AJ?

Well, h-how do you know AJ Covington? - How is he?

Well, I should say he's doing rather well at the moment.

He wrote this picture. You mean, he wrote the play that's gonna be the movie?

That's right. Is he here?

No, uh, he's coming in from New York.

I'm scheduled to pick him up in Charlottesville about 9:00 in the morning.

Oh, I'd... I'd like to pick him up, if that's all right with you.

Oh, thank you, no. But uh, shuffling people

and things about is my job with the company.

Oh. oh, when you see him, would you please tell him that John Walton Jr.,

John-Boy Walton, says hello?

John Walton. Yes, he asked to be remembered to you.

He did, huh? How about that? Yes.

Well, tell him that we'd like him to come over to the house

and see the family and... I certainly will, yes.

Excuse me, I've gotta run.

Uh, would you put this on the company bill, Mr. Godsey?

Oh, sure. Uh, oh, I'm Todd Clarke, Long Island Studios.

How do you do? Nice to meet you.

AJ.

You know, he certainly is a nice sort of boy.

Uh, but he talks a little funny.

Got a foreign accent, I think.

Yeah, that's English.

English?

English?

You sure aren't too good of a cowboy.

You make tracks or I'll rope you.

You and who else?

Me and Myrtle, that's who. Hey!

Lone Ranger, how are you doing? Where is everybody?

Inside the house listening to the radio.

What are they listening to this time of the day?

Some dumb thing about a king. Yeah?

How's your roping going?

Well, I wish I had a steer. Yeah?

Well, why don't you start out by watering my mule?

I'll see what we can do about it.

Bye, Myrtle.

Hey, everybody, you're never gonna guess the news!

The greatest news...

And now from the Transoceanic News Service,

this bulletin from London.

It was reported today that Edward VIII, King of England,

was once again seen in the company of Wallis Simpson,

the once-divorced and presently married American lady from Baltimore.

An American lady? Mama.

Press is going out of its way

to ignore the romance between the King and the commoner.

However, reliable sources say

the relationship between Edward and Wallis

is the talk of the House of Commons

and the scandal of the House of Lords.

Sounds like our Baltimore gal is really upsetting their apple cart.

Anyone's guess. Grandpa. Shh.

And here on the home front, Hollywood sources say that Marlene...

I don't get it. Just because he's a king,

why can't he do what he wants?

'Cause a king can't go traipsing around with a divorced woman.

Don't you all realize? This is the love affair of all time!

I mean, the throne of England. He'll have to give up the throne.

Who cares?

Millions of people, that's who.

Oh, Ben, you don't know anything about love.

What would happen if our president chased after a woman

and forgot about his duties to this country?

Now, Livie, after all, she didn't go after any old earl or count.

She made her way slam bang to the top.

Sounds like a real barnburner to me.

A what?

Barnburner is a red-hot cookie with a... Well, don't tell me.

Well, whatever she is, it's an awfully big story.

Whatever that king decides, people are gonna be talking about this for years.

Well, I'd have to be mighty hard up for conversation.

Hmm, you don't like gossip?

Oh, I don't mind a little gossip if it's homegrown,

but I sure wouldn't go clear across the... the ocean for it.

I've heard just about enough of loose living kings and fancy women.

Mama, what's a fancy woman?

Ben. You tell him, Livie.

I'm giving you all fair warning.

Oh, we never get to talk about anything interesting.

Well, I had something interesting to say,

but nobody wanted to talk about it.

What? What was it?

It's not important. It doesn't make any difference.

Come on, John-Boy. No, no.

I wanted to hear you the whole time.

Just somebody's coming to town.

Who? Who?

You're not interested in this... We want to hear!

We turned off the radio. AJ Covington.

AJ. AJ.

AJ Covington's that writer fellow, was here a couple years back.

Mmm-hmm. What's he doing here?

Oh, nothing, nothing, it's not important at all. Don't worry about it.

Come on. Just tell us.

Something about a movie. A movie? What kind of movie?

Absolutely... What do you care about it? Tell me.

John-Boy! BEN: We want to hear.

He wrote some story for a movie,

and they're filming it around here.

Around here? Here?

I don't know. They were, they were shooting

the other day down at the Rockfish River

and uh, they're gonna be up at the Tabor place for a couple days.

Well, who's the actor? The other day...

Just a couple of actors...

- Who? - Who is this?

Who were they?

Someone named Sylvia Marsh...

Sylvia Marsh! ALL: Sylvia Marsh!

The world's closing in on us.

Kings traipsing around with divorced women

and painted actresses all over the place!

I tell you, the world's gone crazy.

And aren't we lucky to be going along for the ride?

We sure are!

Let go of my milk or you'll spill it!

What are you doing?

Star gazing.

Is it fun? Mmm-hmm.

Sky's just filled with stars tonight.

Grandpa says there's stories in the stars.

He's right.

Is that what you're doing? Reading a story in the stars?

In a way.

Tell me the story.

Well, once upon a time, there was a little girl.

She used to dream all the time.

And she dreamed that one day she'd grow up and become a famous actress.

And she dreamed that she'd get married to a rich man

and have lots of diamonds.

For a while she even dreamed that she'd join a big league baseball team.

What happened to the little girl?

Oh, she grew up and decided to become a nurse.

You're talking about yourself, aren't you? Mmm-hmm.

Is it sad to be a grown-up?

Um, it's not sad.

It's just that, well, all of a sudden

you have to start choosing between things

and wondering if you've made the right choice.

I mean, like, here I am about to enter nursing school,

and I don't know if I've lived yet.

Well, if you haven't been living all this time, what have you been doing?

Waiting, I guess.

For what?

I don't know.

A prince, maybe.

Well, you're gonna have to wait an awful long time.

Go to bed, you girls. It's getting late.

All right, Daddy.

John-Boy's still up.

Oh, he's always up.

I look forward to seeing AJ Covington again.

I guess he's finally found the big story he was always looking for.

My feeling, of course, always was that AJ himself was the big story.

Perhaps he's made that discovery for himself.

Many people have influenced my writing,

but it was AJ Covington who first taught me

to write about what is memorable

and significant in the lives of ordinary people.

Hey, hey, that's AJ Covington.

Hi, AJ.

Good to see you.

Oh, look at you, John-Boy. Look at you.

Well, look at you. You're wearing them spiffy clothes there.

Garments of the trade. It's good to see you.

John, good to see you looking so well.

AJ, how you doing? Better than I have a right to expect.

All the family well?

Oh, the pink of condition, and just waiting to hear your story.

Oh, I'd like you to meet Todd Clarke of the Long Island Studios.

This is my father and my grandfather. How do you do, sir?

Very nice to meet you. Nice to know you, young man.

And these are my sisters, Mary Ellen and Erin.

Well, this is a very pleasant surprise.

I'm delighted to meet you, Erin,

and you, Mary Ellen.

John, our... our company needs uh, lumber

for constructing platforms and various odds and ends.

And, well, we told, uh, Mr. Clarke, here,

that John Walton could provide the very best there is.

We'll sure try, AJ.

If you'd like to talk about it,

I have a list of our requirements, Mr. Walton.

Come over to the mill. I'll show you what we got.

We'll be meeting again, I trust.

AJ, why don't you come on into the house

and say hello to ma... Grandma and my mama.

We wanna hear what you've been doing.

Well, it's a tale stranger than fiction.

Thank you.

I was creating no great stir in the literary world,

until a few months ago, when suddenly, the big break of my life.

They bought my story and decided to make a movie out of it.

Well, what's the story about? Well...

It's called The Long Journey Home,

and it's the story of a young man

who wants to live in the mountains

in a strange kind of quaint old house,

but instead goes roaming around the world,

looking for a perfect paradise.

His search fails, of course,

and at the end he returns to his home in the mountains.

Sounds to me like that quaint old house you're talking about

is really the Tabor place.

The picture of that house has never been out of my mind.

That place is still for sale.

You could probably get it for back taxes alone. How much, Grandpa?

Next to nothing, I imagine.

No one seems to want to live in that dear old place.

Everything's gotta be new and shiny nowadays.

It was my description of that old house

that sold the story in the first place.

Are they filming up there now?

Not yet. Yesterday and today they were down by the river

working on the action sequences.

Tomorrow the actual real filming begins.

And I'd like you all to be there as my guests.

Hot dog, how do you like that for an invitation?

Hey, fine.

Make way for the guests of AJ Covington, famous picture writer.

Are Gordon Farrell and Sylvia Marsh gonna be there tomorrow?

In all their shining glory.

Well, in that case, I know a couple of girls

who'll be up before the sun rises.

Come in.

Whenever you're ready to leave, Mr. Covington.

Where you planning on staying, AJ?

I came straight here from the rail station.

I haven't arranged for lodgings yet.

Well, why don't you stay here with us, just like you used to?

Thank you, Mr. Walton, and I appreciate your offer.

But this strange business is so unpredictable,

I have no idea of the hours that I'll be working,

and I think it would be best if I arrange

for some public accommodations.

Uh, Mrs. Brimmer is sure to have a room. She's probably the nearest.

Oh, if you could give me the directions.

I can show you where it is. There's no need of that.

I'll just drive you down there and introduce you to Mrs. Brimmer personally.

If that's all right with you.

I think Mrs. Brimmer's establishment would be entirely satisfactory.

Uh, Todd, you may be off to wherever suits your fancy.

Right. Shooting call is for 8:00 in the morning.

All right. Thank you.

Thanks for your offer of directions.

Well, it's kind of hard to find your way around here when you're new.

I have to come back later tonight to speak to your father.

Will you be at home?

As far as I know.

Well, uh, goodbye.

Bye.

Close the door.

Oh.

Isn't he just the handsomest man you ever saw?

Oh, yeah. And I think he likes you, too. Oh.

From the first minute I saw him and the first words he spoke

he reminded me of somebody, somebody who's just absolutely gorgeous.

Who?

King Edward VIII.

This is the best room in the house, Mr. Covington.

Reserved for notables, you might say.

The fish and game inspector always takes this

when he comes to the mountains.

Calls it his home away from home.

You've convinced me beyond the shadow of a doubt, Mrs. Brimmer.

I'll move in this afternoon.

Uh, there's a radio downstairs in the living room,

in case you're following the news.

Thank you very much, Mrs. Brimmer.

Now, John-Boy, since you've driven me this far,

may I impose on you for one more side trip?

Do you have any place special in mind?

I'd like to see the old Tabor place

before the lights and cameras move in and make a shambles of it.

I had a feeling you'd want to go up there.

This is still the most peaceful place in the whole world.

Remember the first time you showed it to me?

Oh, I remember it well.

Remember this?

"Whenever I go to Suffern along the Erie track

"I go by the poor old farmhouse

"with its shingles broken and black.

"I suppose I've passed it a hundred times

"but I always stay for a minute

"And look at the house, the tragic house

"the house with nobody in it"

"And uh...

"It needs some... New paint... "New paint."

"And shingles."

"And the vine should be trimmed and tied, "Trimmed and tied."

"but what it needs the most of all is some people living inside."

You're a big, successful writer now, AJ. Why don't you buy it?

There's a time for everything, John-Boy,

and that time has passed.

I've been to New York.

I've... I've tasted it, I have a fine apartment, I drive in cabs,

I dine in the best restaurants.

But, you know, somewhere in the back of my head, I...

I think I really could have been happy in that house.

Well, you still could, couldn't you?

No, it's a lost love, John-Boy.

Well, why should it be? It's still here.

It's the same. It hasn't changed.

No, but I have. For better, for worse, who knows?

Come on.

Hello. I'm sorry I'm late, Mama.

Where have you been? Well, you know how it is,

AJ and I got to walking and talking around the old Tabor place.

That's just like old times with you two? Yeah.

You're not gonna believe how much money he makes.

When he told me, I didn't believe it myself.

He makes $150 a week.

Aw, he must've been pulling your leg.

Nope. $150 a week.

Boy, that's as much money as the president of our country makes.

Why, that's $600 a month. Mmm-hmm.

For that kind of money, I'd crawl bare naked,

through a rattle snake farm.

Hello?

Come in.

Why, Todd Clarke, the movie man.

Good evening.

What can we do for you?

Well, we'll need more lumber than we thought, Mr. Walton.

Floor plankings for our tents,

camera platforms, that sort of thing.

Could we have the order tomorrow?

Well, that'll be kind of rough, but I guess we can manage.

Now, for the second reason I came by tonight.

Would you object, Mr. Walton, if I asked Mary Ellen to go with me

to Mr. Godsey's store for a soda?

Isn't it kind of late?

Well, uh,

I guess it's all right with us.

It's kind of up to Mary Ellen.

I suppose I could.

All right. I'll be right down.

Just don't be late.

I... I saw a goat outside.

Uh, could we use it in the movie?

You use the... The goat in a movie?

Yes. I... I think we'd like to use it for set dressing.

He asked you to go down to Ike's with him. Well, it's practically a date.

Can I wear your pearl beads? Sure.

Um, oh, yeah, they're right here.

You wanna put the goat in the movie? Yes.

A goat? You're only interested in a goat,

with all the good-looking men in this family available?

Well, we'll pay you.

Oh!

Well, we... we should talk about that. Yeah. Yeah.

Don't you just love his English accent?

Would he be a commoner?

He's not very common to me.

I suppose you're gonna fall in love with him.

Erin, I am trying not to.

I am really trying to be sensible and level-headed about this.

But my word, isn't he cute? You're gonna break your leg

before you get halfway down to Ike's wearing those shoes.

Good. He can carry me the rest of the way.

Okay. Will you get that thing on?

It's on! Hurry up. We got to do this hair. Come here.

Okay. Well, brush it first. Right here.

Give me that thing. Watch you don't burn yourself.

Guess you expect a lot of folks over at the Tabor place.

Yes. It isn't every day

we see a movie company on Walton's Mountain.

Well, we are planning on a considerable number.

Of... of course, we'll make provisions for special guests.

You mean us? Yes.

AJ said we could go up there and take a look.

Oh, when you're friends of AJ Covington, you go first class.

You'll be able to see all the action from here.

Are you sure it's all right? It was all arranged by AJ.

Sure got us front row seats.

Is there anything special we should do?

You should be quiet.

Well, how come we have to be quiet and they can talk?

Just listen to the director. Which one's the director?

He's the fellow with the megaphone.

What do we have here? Only four Waltons?

Well, Mama and Grandma stayed home,

and the men are delivering the order of lumber.

I was hoping John-Boy would be along.

Oh, he'll be here. It's all he's been talking about.

Oh, that'll be fine.

Uh, you can unload right by the tent, Mr. Walton.

They started yet?

It's perfect. We're just getting into rehearsal.

This is only part of the order.

We gotta go back and unload some more.

Where's my crew? Pa! Ben! Jason! Come on, let's go!

Quiet back there!

You're a hard man, John.

Aren't you gonna let us get a peek at the proceedings?

How are we gonna unload this without upsetting that uh,

that... that "quiet" man over there?

Don't take his, uh, barking too seriously.

We're just in rehearsal. Uh, there'll be no problem if you unload it gently.

All right. Well, let's go.

Could you spare John-Boy? I'd like him to see what's going on back there.

Sure, go ahead. Thank you.

Well, that's what we get for being common folks.

Quiet. Quiet back there.

We'll have no muttering amongst the peons.

Quiet.

Livie?

Livie? Right here, Grandma.

Livie. What are you doing?

Nothing.

There are a dozen things I should be doing,

but I'm just sitting out here and enjoying myself.

You're not coming down with something, are you?

No.

The men and the children are away, and it's a nice day,

and I just thought I'd sit here and do nothing.

So that's what I'm doing.

I think I'll join you.

Yup.

Hope nobody from the church comes by.

Oh, good Lord.

- Esther. Olivia. - Morning, Ike.

Good morning.

I just thought I'd bring by the mail and the paper.

Much obliged to you.

You're just taking a little air? - That's right.

Well, it certainly is a lovely day for it.

That's right.

Well.

Toodley-doo.

Imagine being married to a man that says, "Toodley-doo."

Nope.

As much as I appreciate Ike bringing this... this day-old paper,

I sure agree with Zeb. On what?

You know, he says one of the first things

he's gonna do after the Depression is over

is to go out and buy himself a new paper.

Must be a luxury opening a paper nobody else has read.

Or clipped out.

You know, I always wonder what's been in those holes.

What's on the front page?

Oh, more trash about the king and that Baltimore woman.

What are they up to now?

He says he loves her and he wants to marry her.

I thought she was already married. Oh, she is.

I don't know what they're gonna do,

but it'll be awful, I can tell you that.

He's gonna have to give up the throne.

"Abdicate," that's the word they use.

You know, one of us leave, we... we just move.

But a king? He abdicates.

Mary Ellen's gonna be upset.

She'll be away from the radio all day.

Yeah. That movie company might serve some good after all.

I feel that way, too, about the scene.

The main thing is that

you know that these two people are in love.

They spend a lot of time talking over the scene

before they actually begin rehearsal.

Isn't Sylvia Marsh beautiful?

They tell me she's a bit difficult to get along with.

I just love Gordon Farrell. Oh, you and about five million other girls.

It sure takes them a long time to do something, doesn't it?

Well, as far as movie scenes go, this is a very important one.

In it, Luke is telling his new wife Nancy

why he wants to stay in his mountain home. Uh-huh.

All right now. Action.

Nancy, darling,

you ain't of a mind to swap all this

for a palace in some foreign land.

Luke, honey, I know how you cotton to this house,

but there's a heap more of the world to be seen.

Can't be nowhere as good as this, Nancy.

Why, I got my roots down here.

My pa and my grandpappy

whittled this old patch out of the piney wood.

But this is no place to fritter out our lives. We're young, Luke.

We got us a whole lifetime ahead of us.

A lifetime here, Nancy, is what I most hanker for.

I can't see us sashaying around the world,

jumping from one place to another like a pair of hoppy toads.

Is you thinking of me, honey?

Is you thinking about my feelings?

Hold it! Cut!

AJ.

Excuse me, John.

What seems to be the trouble? I mean, this is a dramatic scene.

Those people are snickering.

I... I don't know. Have you any idea, any suggestion, AJ?

No, I don't know what they're laughing at? Uh...

John-Boy, you know these people. Uh, can... can you explain it?

Uh, is this supposed to be a serious scene? Yeah.

I'm a little surprised at you, AJ.

I mean, you came and spent some time with us,

and you ought to know we don't talk like that.

I mean, using words like, "hoppy toads," and "hankering" and all.

Excuse me, gentlemen, but if you're discussing the picture,

I feel that I, as director, should be included in, don't you?

Excuse me, Martin. This is John-Boy Walton.

J-John. A friend.

John, how are you? A very good friend of mine.

Now he's lived with these people all his life

and has ambitions of becoming a writer.

And, uh, John, you, uh, feel that you have some solution

for our snickering problem here?

No, AJ was just asking why he thought...

I thought they were laughing, and... and it just...

I mean, it just... 'Cause some of the words that... that they're using aren't,

aren't the way they... These people talk.

You know, I mean, they might use words like that

if they were joking, but...

So, you are saying that, uh,

my actors do not sound like the mountain people, is that it?

Well, it's a good story. I mean, it's... it's a good... Parts to it.

But, yeah, they're not... It doesn't sound too much like the way they talk.

Well, what do you think they would say?

Well, I don't know. I'm, uh...

I don't remember the parts of it.

Well, come on, here. Here's the script.

Here, tell me what you think. All right.

Come on. Why don't you just take a look, John?

Well...

I don't have my glasses or anything. Uh...

Well, it's... it's all good. Got some good parts in it. It's just... just uh, like...

Well, for instance, uh,

"My pa and my grandpappy before him

"whittled this old patch out of the piney woods." I mean that...

They wouldn't, they wouldn't say that, unless they were joking.

Why don't you uh, try and figure it out, John?

Um, well, it's just... It's just...

Well, just say it a little simpler, you know,

like, "My daddy and my grandpa

"cut this little farm out of the Blue Ridge timber with their bare hands,"

or something. I don't know.

How does that sound to you, AJ?

That's terrific. It's wonderful.

Well, ahem, let's take this whole thing scene by scene.

Come on over here a minute.

You know, your brother appears to be hitting off rather well with our director.

Well, old John-Boy, he does a lot of writing.

Does he? Yeah, he really wants to make it as a writer.

It's just, probably, the thrill of his life.

Looks like he's going to have his chance.

Here. Here's a pencil.

Well, I... See what you can do.

What do you want me, to just change the words?

Try it.

Hmm.

Do they, do they do a lot of sitting around during the day?

Well, they have to learn their lines,

but they're not really doing it now.

I bet Miss Marsh will be out in a minute.

Here.

Um...

Take a look at it. Tell me what you think.

This makes all the difference.

Really? You think so? Yeah.

Uh, Listen, if you don't mind, I'm sorry, AJ,

but we just lost so much time.

Mr. Walters, I didn't do too much to it.

I just changed a couple of lines

here and there and... and a couple of the word parts.

We're gonna shoot it.

Clarke, if I'm not interfering with your social life,

I wonder if you'd take these new lines over to Miss Marsh and Gordon.

Rehearse them in it. This is what we shoot.

Yes, sir. Very good. Excuse me.

I've got some changes for you.

All right. Yes. uh, it's right in here.

Mmm-hmm.

Lights.

John, come over here.

All right, now.

Let's have it quiet. Going for a take.

Camera.

Speed.

Marker!

Action.

Nancy, darling,

would you really trade this for the grandest palace anywhere in the world?

Luke, I know you love the Blue Ridge, but there are other things,

other places in the world.

There's so much to see.

But my life is here, Nancy.

My roots are here.

My daddy and my grandpa

cut this little farm out of the Blue Ridge timber with their bare hands.

We're young, Luke. Let's not waste our lives

locked up here, knowing nothing about the world.

But this is the world, Nancy,

and it's about everything I want from life.

I can't see us traveling all over the world,

always looking for a greener pasture.

Do you love me, Luke?

I do, Nancy. You know I do.

Then listen to me.

Think of my feelings.

I wanna see the whole world.

I wanna know what's out there.

But I want it for both of us.

Don't say no, Luke. Please.

If it's what you really want, Nancy.

Cut and print and marvelous!

Ah, all the difference in the world! All the difference!

AJ.

You did a remarkable job of rewriting that scene. Congratulations.

Oh, I'd like to take credit for it, Gordon,

but all the honors go to John Walton, here.

A local writer. It's a pleasure to meet you, sir.

- You did a remarkable job. - Thank you.

You caught my patterns of speech perfectly.

You must have seen my plays.

Oh, well, actually, I've never even been to New York.

Oh, well, if you ever get there, look me up.

Keep an eye on him, Walters. Oh.

I think you just made history.

He's never said anything nice about anyone except himself.

Hey, pull up the box and sit down.

Now,

there's no question about it. The script needs some rewriting.

Let me show you what we're gonna shoot tomorrow morning,

and I wanna know if you can do the same thing

to tomorrow's work

that you did to that scene we just shot.

Um, I... I don't know. That's very flattering.

I don't wanna mess up AJ's play.

Well, the words are less than immortal, John.

We need all of this by tomorrow morning, John.

Can you do it?

I don't know. I'll try. I'd like to try. Is that all right with you?

I want you to know that what you did in rewriting that scene for me

was simply delightful.

Thank you. It was very exciting all the way around for me.

I never tried it before.

Even Gordon, who knows nothing about writing or acting,

said what you had done was truly brilliant.

You caught me perfectly.

You must have seen my play, Flames Of Winter.

Well, no, I... I haven't. I... I... I would like to. I wish I had.

Well, you must come to New York.

Harry, darling, I have got to talk to you.

Okay. Now that all the hot air is over, come on.

I gotta give you a few basic pointers.

Just use a pencil and write in the margin the way you did today.

Just keep it loose and easy, simple, natural. That's the secret, John.

So this is, this is what you're gonna do tomorrow?

I hope to be a director someday, like Martin Walters.

Well, you're learning.

I mean, just the chance to work with someone like Mr. Walters.

You know, I say to myself a dozen times a day,

when he's doing things that are bright and imaginative,

"Todd, you must remember that."

I go home at night and I write things down.

Well, someday I'll go to the movies

and your name will be on the screen.

Directed by Todd Clarke.

And I'll wreck my imported Bentley convertible

and be sent to the hospital,

and who'll be my nurse?

Mary Ellen Walton. I'll smile through my bandages.

And I'll say, "I'm sure I've seen him someplace."

You really do want to be a nurse, don't you?

More than anything else.

I don't care how much I have to study or train or how long it takes.

I'm going to be a nurse, no matter what. Well,

if you should come to New York, will you look me up?

Mary, you want to hear something that'll make your head spin?

The director liked the stuff I did on the play so well,

he wants me to rewrite some more scenes for tomorrow morning.

You mean you'll do them over? Yeah, just the dialogue part.

You know, what the actors say to each other. Isn't that great?

What about AJ Covington?

I thought he was the writer.

John-Boy, supper's... Mama, I'm rolling.

I'll fix you a sandwich.

What's going on in there?

He's rolling.

Good for him.

You're bending your knees!

You're getting fat, Ben.

I bet you couldn't even touch the floor with your fingers.

Sure can!

Stand. Come on, stupid.

You don't believe me? Don't bend your knees.

All right, let's see it.

Oh, wonderful. I can do it with my whole hand.

Sure.

She can do it.

Wish we could afford to give her dancing lessons.

Why? So she can put her hands on the floor? Oh.

Dancing!

Let's see you touch the backs of your hands on the floor.

Why don't you, fatty? Oh, not me. I just lie here and watch.

I'd show you how to do it if I had a mind to.

But you can't.

I don't have a mind to.

Grandpa's a faker!

Grandpa's a faker!

None of you could do a trick like that.

Whoa. OLIVIA: Very good, Grandma.

Hey! Hey, what's going on down here, anyway?

Uh-oh. Fun's over.

Well, I'm trying to work up there...

Never mind. JASON: We'll try to hold it down.

Why is John-Boy doing AJ's writing for him?

Would somebody please tell me?

John-Boy couldn't help it. It wasn't his idea.

It was the director, Martin Walters. He just latched on to him.

There was nothing John-Boy could do about it.

Well, the whole thing's a mystery to me.

Ah, you're so busy showing off, you didn't listen.

Well, why is John-Boy doing it? What's he getting out of it?

Gets a chance to show what he can do, I guess.

Well, if he shows them, then what?

What do writers do when they're discovered?

They don't stay on Walton's Mountain.

You'll have to excuse the scribbling.

We don't pay writers for penmanship, John.

Thoughts, ideas are what we want,

and this is fine. It's absolutely fine.

You've, you've turned Luke and Nancy

from cartoon cutouts into real human beings.

Thank you, I didn't do too much.

I just changed some of the words.

I'd like to show it to AJ. Where is he?

Uh, I don't know. I haven't seen him around this morning.

I'll try to find him. I'd like to show it to him. All right?

John, sit down for a minute, will you please?

Sure.

How would you like to work for me, John?

I've asked you a question, John.

You mean, write? Yes, I think you do it very well.

I'd like you to continue on this script.

I'd like to.

Good, then you'll come back to New York with us. Who knows?

New York?

That means steady work and a good salary.

What's wrong with that?

Nothing at all. That's a big decision.

I don't think I could... could give you an answer right away.

I'd have to talk to my family about it.

I see. And how long do you think that might take?

Oh, not long. I... It's... I'd have to talk to them.

All right. I'll drop by your place this afternoon.

Harry, I think we ought to try another angle on this setup.

I... I want to get in more background.

You know what we need? What?

A new coil. What we need is a new mechanic.

Hey, you wanna give us a hand here?

No, thank you very much, Jason.

Uh, John-Boy, what did those picture people think about your writing?

Oh, he liked it.

Uh, I may be going to New York.

What? New York?

Uh-huh. Maybe, maybe.

He wouldn't be safe for a minute up there

with all that sin and traffic.

Oh, get off my floor.

He just offered it to me.

Just up and said I could have the job if I wanted it.

You know, I'd just, uh, finish working on this play for him.

Go back to New York with it.

I'd be getting good money.

Once I got to New York, who knows?

Sounds like a big offer. You gonna take it?

I don't know. I haven't thought about it.

I haven't had time to think about it.

Mama, what do you think?

I don't trust my judgment on this.

You know how I feel about you leaving home.

Few years ago, I might have tried to advise you,

but afraid now you're on your own.

Why don't you go talk to your daddy?

Of course, I'll be making some money right away.

That'd be good for the family. I could send some back.

I'd get a chance to see New York City.

And after this picture's over,

maybe I could, uh, do some more jobs for Mr. Walters.

Might even become famous some day.

Whatever I do, it'd probably help me to get my book published,

if I ever finish it.

Aren't you gonna have to give up something, son?

School. I'm not sure I want to do that.

'Course I'd have to leave home, too.

I'm not sure I want to do that yet.

John-Boy,

it's kind of hard for me to take this movie business seriously.

I'd just hate to see you give up school,

go chasing after a life like that.

Well, I asked you.

Yes, you did.

Thanks.

AJ, I didn't wake you up, did I? You weren't asleep?

No. Come on in, John-Boy. Come on in.

Walter said he hadn't seen you, and I wanted to talk to you.

Everything all right? I'm fine. Sit down.

I gotta ask you some advice.

You got the experience and you're my friend.

This morning when I brought those scenes to Mr. Walters,

he liked them so much, that he asked me to go work for him.

Now, uh, that's a big step for me, AJ,

and I want to know what you think about it.

It's an opportunity to set the pulses pounding.

It means in one giant step you'll be on the upper plateau of the movie business,

if that is what you want. But only you can answer that.

Well, one good thing, I thought, was that we'd be working together.

And... and I'm... Not as a team or anything, of course,

but I could be your assistant or something like that.

I'm afraid that won't be possible. Uh, this morning I was fired.

What?

Came as no great surprise.

As Martin Walters is fond of saying,

"Motion pictures is a business,

"and in business, a better man comes along, you're out."

Better man? I can't believe it.

Well, it's a thoroughly sensible decision for Martin.

Uh, you took bad scenes and made them good ones.

Don't feel guilty about it. I don't feel guilty about it, I feel terrible about it.

It's a terrible mistake, AJ. A better man?

Oh, he's crazy. That was a good script.

It was a good story and good characters,

and all I did was just change a few words, that's all.

Honest, AJ, I just thought I was gonna be your assistant,

but this is a terrible mistake.

What's done is done.

No, AJ. AJ. Come in.

Mr... Excuse me, Mrs. Brimmer.

AJ, please don't do anything, don't go anyplace until I talk to you.

I've gotta try to do something about this. Excuse me.

I-it's happened, Mr. Covington. I just heard it on the radio.

Edward has abdicated.

He gave up the throne of England to marry that woman.

He's coming on the air anytime now.

There's a good word to be said for unemployment.

I have something in common with the king.

This is a moment in history.

Indeed it is.

This is Windsor Castle.

His Royal Highness, Prince Edward.

At long last

I am able to say a few words of my own.

I have never wanted to withhold anything,

but until now

it has not been constitutionally possible for me to speak.

A few hours ago,

I discharged my last duty as king and emperor.

And now

that I have been succeeded by my brother, the Duke of York,

my first words

must be to declare my allegiance to him.

This I do with all my heart.

You all know the reasons

which have impelled me to renounce the throne.

But I want you to understand

that in making up my mind

I did not forget the country or the empire

which, as Prince of Wales and lately as king,

I have for 25 years tried to serve.

But you must believe me when I tell you

that I have found it impossible

to carry the heavy burden of responsibility

and to discharge my duties as king

as I would wish to do

without the help and support of the woman I love.

And now we all have a new king.

I wish him, and you, his people,

happiness and prosperity with all my heart.

God bless you all.

God save the king.

Mr. Walters, AJ is a good writer.

This is a good story. You said so yourself.

The only problem he had

was that he just hasn't spent enough time up here among these people.

Enough of AJ. Let's talk about you.

Well, I don't want to talk about it, I'm sorry.

If I'd known I'd be taking AJ's place,

I wouldn't even have thought about it.

You're letting sentiment interfere with your career.

Now this is a business, and I think you're a valuable commodity.

No disrespect intended, sir,

but I don't like to think of myself as a commodity.

To you or anyone else.

You know what you're giving up?

I got a pretty good idea.

Hope you won't regret it.

Hope not.

Well, thanks for the help.

I'll send you a check when I get to New York. Come on, Clarke.

By the way uh, I guess I still need a writer.

AJ wasn't at the boarding house.

Do you know where I might find him?

No. Wait a minute. Yes, I think I do know where you might find him.

Is it okay if I take you there?

Sure, hop in.

Goodbye, Mary Ellen.

AJ.

I couldn't go back with him, not like this.

Are you thinking of staying?

I'm just saying goodbye to a lost love.

Uh, it's been a pleasure meeting you gentlemen.

Twice AJ Covington came into our lives on Walton's Mountain

and twice he wandered on.

The visit of the movie company made almost as much history

in our small community

as the abdication of Edward VIII made on the world.

Unlike Edward, my abdication from writing for the screen was a temporary one.

Good night, Elizabeth.

Good night, John-Boy. I'm glad you're not going away.

So am I. Good night, Mary Ellen.

Good night, Duke of Windsor. Too bad about your throne.

That Wallis Simpson must be some cutie.

I hear she dyes her hair.

That gossip is not homegrown.

- A little quiet, please. - Good night, everybody.