All language subtitles for The.Waltons.S04E11.The.Abdication.WEBRip.x264-ION10

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.

-Heard of the movie being made.
-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?
-Yeah.

I didn't know.

There's a real movie company
here from New York

and they got lights and fancy
motion picture cameras

today's the first day.

-They're shooting by the river.
-They got any movie stars there?

Sylvia Marsh and Gordon Farrell.

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

-Right.
-I cannot believe it.

Excuse me, I was asked
to relay a message.

Of course.

Mr. AJ Covington
sends his regards.

-AJ Covington?
-Yes.

-The writer?
-Yes.

You mean, our AJ?

-How do you know AJ Covington?
-How is he?

I should say he's doing well.
He wrote this picture.

He wrote the play
that's gonna be the movie?

-That's right.
-Is he here?

No, he's coming from New York.

Have to pick him
up 9:00 in the morning.

I'd like to pick him up,
if that's alright.

Thank you, no. But shuffling
people and things is my job.

When you see him, 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?

Tell him that we'd like him to
come and see the family...

I certainly will.
Excuse me, I've gotta run.

Would you put this
on the company bill?

Oh, sure.

Todd Clarke,
Long Island Studios.

-How do you do?
-Nice to meet you.

AJ.

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

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 listening
to the radio.

What are they listening
to at this time?

-Some dumb thing about a king.
-Yeah?

How's your roping going?

-Well, I wish I had a steer.
-Yeah?

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
upsetting their apple cart.

-...anyone's guess.
-Grandpa.

And here on the home front

Hollywood sources say
that Marlene...

I don't get it.

Just 'cause he's a king,
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!

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?

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.
-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 for years.

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

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 ocean for it.

I've heard 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.

We never get to talk about
anything interesting.

I had something interesting to
say, but nobody wanted to talk.

-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.
-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,
was here a couple years back.

What's he doing here?

Nothing, nothing,
it's not important.

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?
Tell me.

-John-Boy!
-We want to hear.

He wrote some story and
they're filming it around here.

-Around here?
-Here?

I don't know.

They were shooting the other day
down at the Rockfish River.

They're gonna be at the Tabor
place for a couple days.

-Who's the actor?
-The other day...

-A couple of actors...
-Who?

-Who is this?
-Who were they?

Someone named Sylvia Marsh...

-Sylvia Marsh!
-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?

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.

She dreamed 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?

Is it sad to be a grown-up?

It's not sad.

It's just, all of a sudden you
have to choose between things

and wondering if you've made
the right choice.

Like, here I am about
to enter nursing school

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

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.

You're gonna have to wait
an awful long time.

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

Alright, 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 looking for.

My feeling, 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.

That's AJ Covington.

Hi, AJ.

Good to see you.

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

Look at you. You're wearing
them spiffy clothes there.

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

-Good to see you looking well.
-AJ, how you doing?

Better than I have a right to
expect. All the family well?

The pink of condition.
Waiting to hear your story.

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

This is my father
and my grandfather.

How do you do?
Nice to meet you.

And these are my sisters,
Mary Ellen and Erin.

This is a pleasant surprise.
I'm delighted to meet you, Erin,

and you, Mary Ellen.

John, our company needs lumber

for constructing platforms
and various odds and ends.

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

that John Walton could
provide the very best there is.

We'll sure try, AJ.

If you'd like to talk,
I have a list of requirements.

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

We'll be meeting again, I trust.

Why don't you come
into the house

and say hello
to 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, suddenly
the big break of my life.

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

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

It's called
The Long Journey Home

it's about 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 and at
the end he returns home.

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

is really the Tabor place.

The picture of that house has
never left my mind.

That place is still for sale.

You could 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 house that sold the story.

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'll
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.

In that case, I know a couple of
girls who'll be up by sun rise.

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.

Why don't you stay here with us,
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
I'll be working,

I think it's best if I arrange
for some public accommodations.

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

If you could give
me the directions.

-I can show you.
-There's no need of that.

I'll drive you there

and introduce you to Mrs.
Brimmer personally.

If that's alright.

I think Mrs. Brimmer's
establishment

would be entirely satisfactory.

Todd, you may be off
to wherever suits you.

Shooting call's,
8:00 in the morning.

Alright. Thank you.

Thanks for your
offer of directions.

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, goodbye.

Bye.

Close the door.

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

Yeah. And I think
he likes you, too.

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.

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.

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?

Any place special in mind?

I'd like to see
the old Tabor place

before the lights and cameras
move in and make a mess 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?

-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 it needs some..."
-"New paint."

-"New paint and shingles..."
-"And shingles."

"And the vine should
be 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 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.

-You still could, couldn't you?
-No, it's a lost love, John-Boy.

Why? 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?
-You know how it is.

AJ and I got walking and talking
at the old Tabor place.

That's like old times
with you'll?

Yeah.

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

When he told, I didn't believe
it myself. He makes $150 a week.

-He must be pulling your leg.
-Nope. $150 a week.

That's as much money as the
president of our country makes.

Why, that's $600 a month.

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?
-We'll need more lumber

than we thought.

Floor plankings
for our tents,

camera platforms,
that sorta thing.

Could we have
the order tomorrow?

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,

I guess it's alright with us.

It's kind of up to Mary Ellen.

I suppose I could.

-Alright.
-I'll be right down.

Just don't be late.

I saw a goat outside.

Could we use it in the movie?

You use the goat in a movie?

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

He asked you to go to Ike's with
him. It's practically a date.

-Can I wear your pearl beads?
-Sure.

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 should talk
about that. 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 trying to be sensible
and level-headed about this.

But my word, isn't he cute?

You're gonna break your leg on
the way to Ike's wearing that.

He can carry me
the rest of the way.

Will you get that thing on?

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

-Okay. Well, brush it first.
-Right here.

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

Guess there are a lotta folks
at the Tabor place.

-Yes.
-It isn't every day

we see a movie company
up here.

We are planning
on a considerable number.

We'll make provisions
for special guests.

-You mean us?
-Yes.

AJ said we could go there
and take a look.

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

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

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

Sure got us front row seats.

Is there anything special we
should do?

You should be quiet.

How come we have to be quiet
and not them?

Listen to the director.

-Which one's the director?
-The one with the megaphone.

What do we have here?
Only four Waltons?

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.

That'll be fine. 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 and unload 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 without
upsetting that "quiet" man?

Don't take his barking
too seriously.

We're just in rehearsal.

There'll be no problem
if you unload it gently.

-Alright. Well, let's go.
-Could you spare John-Boy?

I'd like him to see
what's going on there.

-Sure, go ahead.
-Thank you.

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

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, it's a nice day,

and I thought
I'd sit and do nothing.

So that's what I'm doing.

I think I'll join you.

Hope nobody from
the church comes by.

Oh, good Lord.

-Esther. Olivia.
-Morning, Ike.

-Good morning.
-I thought I'd bring by the mail

-and the paper.
-Much obliged to you.

-You're 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 day-old paper,

-I sure agree with Zeb.
-On what?

He says the first
thing he's gonna

do after the Depression is over
is to go and buy 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?

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 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, 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.
-You and five million girls.

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

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.

Alright now. Action.

Nancy, darling,

you ain't of a mind
to swap all this

for a palace
in some foreign land.

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.

We got us a whole life
time 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 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?
This is a dramatic scene.

Those people are snickering.

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

I don't know what
they're laughing at?

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

-Is this supposed to be serious?
-Yeah.

I'm a little surprised at you.

You came and spent
time with us.

You oughta know
we don't talk like that.

Using words like, "hoppy toads,"
and "hankering" and all.

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

I feel that, as director, I
should be included in, right?

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

-John.
-A friend.

-How are you?
-A very good friend of mine.

He's lived with
these people

and has ambitions
of becoming a writer.

And, John, you feel
that you have some solution

for our snickering problem here?

No, AJ was asking
why he thought...

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

It just... 'Cause some of
the words they're using

aren't the way
these people talk.

They might use words like that
if they were joking, but...

So, you are saying that my
actors do not sound

like the mountain people,
is that it?

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

But, yeah, it doesn't sound too
much like the way they talk.

What do you think
they would say?

Well, I don't know. I don't
remember the parts of it.

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

-Tell me what you think.
-Alright.

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

I don't have my glasses
or anything.

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

Well, for instance,

"My pa and my grandpappy
before him

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

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

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

Well, it's just... It's just...

Say it 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, wonderful.

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

Come on over here a minute.

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 wants to make
it as a writer.

-It's the thrill of his life.
-He's gonna have his chance.

Here. Here's a pencil.

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

What do you want me
to change the words?

Try it.

Do they sit
around during the day?

They have to learn their lines,
but they're not doing it now.

I bet Miss Marsh will
be out in a minute.

Here.

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

This makes all the difference.

-Really? You think so?
-Yeah.

If you don't mind, I'm sorry,
AJ, but we lost so much time.

I didn't do much to it.
I changed a couple of lines

here and there 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 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.

-Alright.
-Yes. It's right in here.

Lights.

John, come over here.

Alright, now.

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

Camera.

Speed.

Marker!

Action.

Nancy, darling,

would you trade this for the
grandest palace

anywhere in the world?

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!

All the difference in the world!

All the difference!

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

Congratulations.

I'd like to take credit for it
but the honors go to John here.

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

-You did a remarkable job.
-Thank you.

You caught my patterns
of speech perfectly.

You must have seen my plays.

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

Well, if you ever
get there, look me up.

Keep an eye on him, Walters.

I think you just made history.

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

Hey, pull up the box
and sit down.

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

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

and I wanna know if you
can do the same thing

to tomorrow's work

that you did to
that scene we just shot.

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

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

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 alright with you?

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

was simply delightful.

Thank you. It was exciting
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 haven't. I would
like to. I wish I had.

You must come to New York.
Harry, I have to talk to you.

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

I gotta give you
a few basic pointers.

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

Keep it loose and easy,
simple, natural.

That's the secret, John.

So 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.

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.

Someday I'll go to the movies
and your name will be in it.

-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'veto study or train

or how long it takes.

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

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 stuff
I did on the play,

he wants me to rewrite some more
scenes for tomorrow.

-You mean you'll do them over?
-Yeah, 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 can't touch
the floor with your fingers.

Sure can!

-Stand.
-Come on, stupid.

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

Alright, let's see it.

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?

Dancing!

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

-Why don't you, fatty?
-Not me. I 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!
-Grandpa's a faker!

None of you could
do a trick like that.

Very good, Grandma.

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

-Uh-oh. Fun's over.
-I'm trying to work up there...

-Never mind.
-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.

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

Why is John-Boy doing it?
What's he getting out of it?

Gets a chance to show
what he can do.

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 turned Luke and Nancy
from cartoon cutouts

into real human beings.

Thank you, I didn't do much.
I changed some of the words.

I wanna show it to AJ.
Where is he?

I haven't
seen him since morning.

I'll find him. I wanna
show it to him.

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 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 give you
an answer right away.

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

I see. And how long
that might take?

Not long. I'd have
to talk to them.

Alright. I'll drop
by your place this afternoon.

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

I want to get
in more background.

-You know what we need?
-What?

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

-You wanna give us a hand here?
-No, thank you very much, Jason.

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

He liked it.

-I may be going to New York.
-What?

-New York?
-Maybe, maybe.

He wouldn't be safe for a minute
there with that sin and traffic.

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 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

do some more jobs
for Mr. Walters.

Might even become
famous some day.

Whatever I do, it'd help me
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.

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

No. Come on in.
Come on in.

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

-Everything alright?
-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.

That's a big step for me and
I wanna know what you think.

It's an opportunity
to set the pulses pounding.

In one giant step you'll be on
the upper plateau

of the movie business,
if that is what you want.

Only you can answer that.

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

And not as a team
or anything,

but I could be your assistant
or something like that.

I'm afraid that
won't be possible.

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.

You took bad scenes
and made them good ones.

Don't feel guilty about it.

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

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

He's crazy.
That was a good script.

It was a good story,
good characters,

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

Honest, I 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.

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.

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 hasn't spent enough time
here among these people.

Enough of AJ.
Let's talk about you.

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 have
thought about it.

You're letting sentiment
interfere with your career.

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, I guess I
still need a writer.

AJ wasn't at the boarding house.
Do you know where I'll find him?

No. Wait a minute. Yes, I think
I do know where you'll 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.

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.