The Waltons (1971–1981): Season 1, Episode 15 - The Actress - full transcript

[car horn blowing]

(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?

WELL... 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.

WHAT HAPPENED? 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!

I SAW YOU. 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.

[all laughing] 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.

CAN I GO WITH THEM,
MAMA? YEAH, ME, TOO!

(Jason) IF WE ALL GO IT
WILL BE FUN. 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.

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.

HELLO. 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.

HELLO, HARRY. (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!

MISS DRUMMOND, 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?

WELL, I'LL BE... [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.

THEY KNOW ANYTHING? 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. SEE YOU LATER.

(Ike) HI, KIDS. (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.

WHAT KIND? MISS
FANNY 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 FANNY 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.

I WON'T. HI, DADDY. 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.

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?

♪ BUTTERFLY ♪
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 FANNY TATUM

TOLD IKE GODSEY THAT HER... 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.

(John) ALVIRA. 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.