The Spoilers

(John-Boy) SOMETIMES THE FUTURE TRIES TO WARN US BY CASTING A SHADOW OVER THE PRESENT. SUCH A WARNING CAME TO US ONE MORNING IN THE FORM OF A SCENT OF SMOKE BORNE BY THE WIND. I SMELL SMOKE. SO DO I. SEEMS TO BE COMING FROM THE HANOVER PLACE. MAYBE THERE'S A *** IN THERE. WE'D BETTER LOOK INTO THAT. FIRES SCARE ME TO DEATH THIS TIME OF YEAR. [birds chirping] I KNOW. MY HOUSE IS ON FIRE. WELL, I WOULDN'T GO SO FAR AS TO SAY THAT. ONE LIVES IN HOPE. DON'T YOU KNOW HOW DANGEROUS A FIRE CAN BE IN THESE PARTS? WELL, IT ISN'T A FIRE, REALLY. IT'S THE STOVE. I CAN'T SEEM TO MAKE IT WORK. [Susan sobbing] I'LL TAKE A LOOK AT IT. [Grandma coughing] I'M SORRY. IT'S JUST THAT I HAVEN'T MANAGED TO DO ONE SINGLE THING RIGHT SINCE WE GOT HERE. I HAVE DAYS WHEN NOTHING SEEMS TO WORK. I GUESS WE ALL DO. OH, WELL, I'D SETTLE FOR A DAY HERE AND THERE. IT'S MY LIFE I'M TALKING ABOUT. IT WAS THE DAMPER. YOU HAVE TO OPEN IT. AS SOON AS THIS SMOKE CLEARS I'LL SHOW YOU HOW TO USE IT. [coughing] THANK YOU. UM, I'M OLIVIA WALTON AND THIS IS MY HUSBAND'S MOTHER, MRS. ESTHER WALTON. HOW DO YOU DO? I'M SUSAN HANOVER. HANOVER? YOU'RE BERTRAM HANOVER'S DAUGHTER? OH, HE'S MY FATHER-IN-LAW. YOU SAYIN' THAT BERTRAM HANOVER'S HERE IN THIS HOUSE? NOT ON YOUR LIFE. YOU COULDN'T DRAG HIM OR MY MOTHER-IN-LAW OUT OF NEW YORK WITH A TEAM OF WILD HORSES. OH, TED DID SUGGEST IT, BUT THE OLD MAN WOULD HEAR NONE OF IT. IS TED YOUR HUSBAND? YES, HE'S BERTRAM'S SON. THIS WHOLE EXPEDITION WAS HIS IDEA. CAN YOU IMAGINE THAT? BERTRAM HANOVER'S KIN, RIGHT HERE ON WALTON'S MOUNTAIN. YES. (Alicia) MOTHER? UH, MOTHER, WHAT ON EARTH HAVE YOU DONE? (Charles) LOOKS LIKE YOU SET FIRE TO THE PLACE. GOOD. WE CAN GO HOME NOW. NO SUCH LUCK. DAD WOULD RENT A SHANTY SOMEWHERE JUST TO KEEP US HERE. THESE ARE MY OFFSPRING. ALICIA, CHARLES, SOME OF OUR NEIGHBORS, MRS. WALTON AND MRS. WALTON. HELLO THERE. HOW DO YOU DO? THE CHILDREN AREN'T VERY HAPPY ABOUT BEING HERE, EITHER. [sighs] UH, DO YOU HAVE ANY CHILDREN? 7. 7? GOOD LORD! HOW DO YOU KEEP YOUR FIGURE? OH. [chuckles] WELL, THE--THE SMOKE'S GONE. I CAN SHOW YOU HOW TO, TO WORK THAT STOVE NOW, MRS. HANOVER. OH, SUSAN, PLEASE. YES, I WOULD BE VERY GRATEFUL. (Susan) AWFUL, ISN'T IT? PART OF THIS STUFF WAS LEFT BY THE PEOPLE WHO WERE RENTING AND SOME OF IT WE HAD SHIPPED DOWN FROM NEW YORK. WELL, IT SURE DON'T LOOK LIKE IT USED TO IN THE OLD DAYS. I HAVE NEVER LIVED IN THE COUNTRY IN MY LIFE AND I'M AT MY WITS END TRYING TO PUT THIS PLACE IN SHAPE. WELL, GETTING THE STOVE IN GOOD WORKING ORDER IS A STEP IN THE RIGHT DIRECTION. YES. WELL, IT'S RIGHT THROUGH HERE. OH, DEAR. OH! YOU TELL YOUR HUSBAND, WHEN HE CHOPS WOOD, IT SHOULD BE DRY. THIS HERE'S GREEN. THAT'S WHY THIS SMOKED UP SO MUCH. FIRST, YOU'D BETTER TELL HIM WHICH END OF THE AX HE'S SUPPOSED TO CHOP WITH. ALICIA. AND THEN YOU'D BETTER WRITE IT DOWN. HE WON'T REMEMBER IT UNLESS IT'S IN A PROSPECTUS. [chuckles] NOT BERTRAM HANOVER'S SON. (Susan) TED FORGETS THAT HE WASN'T BORN HERE. DOESN'T REALLY HAVE THE ROOTS HE THINKS HE HAS HERE. IT'S CRAZY. IT MUST BE *** YOU ALL MOVING OUT HERE TO THE COUNTRY. WHERE DID YOU LIVE BEFORE? AN APARTMENT BUILDING IN NEW YORK CITY. SUSAN, WOULD YOU AND YOUR FAMILY LIKE TO COME HAVE SUPPER WITH US TONIGHT? YOU CAN WORRY ABOUT ALL THIS GETTING SETTLED TOMORROW. IN A WORD, YES. IT'S THE FIRST HOUSE ON THE RIGHT DOWN THE ROAD. WE USUALLY SIT DOWN AROUND 6:00. THANK YOU SO MUCH. WE'LL SEE YOU THEN. NOW, IN THE MEANTIME, IF YOU'RE GONNA USE THIS STOVE NOW COME HERE, YOU MAKE SURE THAT THIS IS OPEN. NOT CLOSED. OPEN, LIKE THIS. THANK YOU SO MUCH. I-I'LL SEE YOU TO THE DOOR. [door creaking] [sighs] [birds chirping] BYE-BYE. BYE. [sighs] IT'S HARD TO BELIEVE. SOME PEOPLE JUST HAVE DIFFERENT WAYS, THAT'S ALL. OH, I DIDN'T MEAN THAT. I WAS THINKING ABOUT BERTRAM HANOVER, WONDERING WHAT HAPPENED TO HIM. IF HE EVER HAD ANY CHILDREN, AND WHAT THEY WERE LIKE. DID YOU KNOW HIM WELL? [chuckles] HE WAS ONE OF MY BEAUS. YEAH. [scraping] THESE BENCHES SURE DO GET WOBBLY. NO, IT'S THEM KIDS. THEY'RE GROWING UP SO FAST. I TOOK A LOOK AT JASON THIS MORNING. HE IS SHOOTING UP LIKE CORN AFTER THE FOURTH OF JULY. (Grandma) HERE IT IS, LIVIE. I FOUND IT IN MY MEMORY BOOK. WHAT YOU GOT THERE? AN OLD PICTURE OF ME? I CAN'T POSSIBLY BE AS HANDSOME AS I REMEMBER. [groans] WHAT ARE YOU HANGING ON TO A PICTURE OF THAT PARLOR SNAKE FOR? I BROUGHT IT DOWN FOR LIVIE. THAT'S ME AND BERTRAM AT THE COUNTY FAIR. YOU SURE WERE A LOOKER, MA. HE'S GOOD-LOOKING, TOO, GRANDMA. HE WAS A PARLOR SNAKE. YOU DIDN'T KNOW HIM LIKE I DID. IF HE'S SO ALL-FIRED GREAT WHY DID YOU TURN HIM DOWN WHEN HE PROPOSED TO YOU? (John) YOU LISTEN NOW, LIV. WE'RE ABOUT TO FIND OUT SOMETHING FROM MA'S PAST. BERTRAM HANOVER WAS A FINE YOUNG MAN. AND, UH, WELL, WE JUST DIDN'T SEE EYE TO EYE ABOUT THE FUTURE. NOTHING WOULD DO BUT THAT HE'D GO UP TO NEW YORK. BUT HE DID ASK ME TO MARRY HIM AND GO ALONG WITH HIM. THEN TO SHOW HIS DEEP AFFECTION FOR HER HE MARRIED SABRINA WILKINS 2 WEEKS AFTER. WHAT BROUGHT ON ALL THIS ANCIENT HISTORY, HUH? BERTRAM'S SON AND HIS FAMILY HAVE MOVED TO WALTON'S MOUNTAIN. GRANDMA AND I BUMPED INTO MRS. HANOVER THIS MORNING. AS A MATTER OF FACT, THEY'RE COMING FOR SUPPER TONIGHT. [groans] LIKE FATHER, LIKE SON. MARK MY WORDS. (Grandma) TED, DON'T YOU CARE FOR SPOON BREAD? MY APPETITE SEEMS TO HAVE DESERTED ME IN THE LAST FEW MONTHS. THIS MOUNTAIN AIR'LL GET YOUR APPETITE BACK IN NO TIME. SOON YOU'LL BE EATING LIKE A WOODCHOPPER. AS SOON AS I LEARN HOW TO CHOP WOOD. THAT I'VE GOTTA SEE. HELLO. JOHN-BOY, COME ON IN. MEET THE HANOVERS. TED AND SUSAN, THIS IS OUR OLDEST SON, JOHN-BOY. HOW DO YOU DO? PLEASED TO MEET YOU. HOW DO YOU DO? I'M SORRY I'M LATE. (Olivia) SIT HERE, JOHN-BOY. ALL RIGHT. THIS IS ALICIA AND CHARLES HANOVER. HELLO. ALICIA USED TO LIVE IN A COMPARTMENT HOUSE IN NEW YORK. [Alicia chuckling] AN APARTMENT HOUSE. UH, YOU FOLKS, UH, HERE FOR GOOD? (Ted) YES, WE ARE. WE'RE HERE TO STAY. PROVIDING MOTHER DOESN'T BURN THE HOUSE DOWN. YOUR FATHER WAS TELLING US YOU'RE IN COLLEGE. YES, I AM. WHERE DO YOU GO? UH, BOATWRIGHT UNIVERSITY. IT'S IN WESTHAM, ABOUT 28 MILES FROM HERE. OH. YOU GO TO SCHOOL EVERY DAY AND COME HOME EVERY NIGHT? EXCEPT ONCE WHEN HE STAYED OUT AND DANCED ALL NIGHT. MAMA WAS MAD. (Alicia) YOU, UH, COMMUTE? (John-Boy) YES. WELL, IT'S LESS EXPENSIVE THAT WAY. UM, LET ME GUESS WHAT SCHOOL YOU'RE IN. UM, LAW? NO. NO, YOU'RE JUST NOT THAT KIND, ARE YOU? UM, ART, MAYBE. (John-Boy) UH, NO. ENGINEERING, DEFINITELY NOT. NO, DEFINITELY NOT ENGINEERING. UH, MUSIC? AM I CLOSE? UH, JOUR-JOURNALISM, ACTUALLY. OH. HAVE YOU HAD ANYTHING PUBLISHED? NO, NOT YET. BUT I'M GETTING CLOSER. IT USED TO BE I JUST GOT PRINTED REJECTION SLIPS NOW I GET LETTERS TELLING ME TO TRY AGAIN. (Alicia) UH, WE KNOW A LOT OF PEOPLE IN PUBLISHING. MAYBE WHEN WE GET BACK TO NEW YORK WE COULD HAVE SOME OF YOUR THINGS READ BY THE RIGHT PEOPLE. OH, I THOUGHT YOU ALL WERE STAYING HERE. OH, WELL, DAD KEEPS SAYING THAT. I GUESS YOU'D CALL IT SORT OF A PILGRIMAGE. WHAT ARE WE CALLING IT TODAY, DAD? I'M SURE THE WALTONS AREN'T INTERESTED IN WHY WE CAME HERE, ALICIA. [clears throat] I'D LIKE TO READ SOME OF THOSE STORIES YOU WERE TALKING ABOUT. YOU MAY. DO YOU KNOW WHO MAXWELL PERKINS IS? OH, SURE I KNOW WHO MAXWELL PERKINS IS. HE'S F. SCOTT FITZGERALD'S EDITOR. YES, AND A CLOSE FRIEND OF MY FATHER'S. REALLY? ALICIA, THE DAYS OF CLUBS AND SOCIALIZING WITH MAXWELL PERKINS ARE OVER. YES. WELL, MAYBE THEY ARE FOR YOU, BUT THEY'RE NOT FOR ME. [crockery clinks] [chair creaks] EXCUSE ME. MARY ELLEN, ERIN, UH, WHY DON'T YOU CLEAR, AND I'LL SEE ABOUT DESSERT. (John-Boy) OH, PLEASE. THANK YOU. WHAT LINE OF WORK WERE YOU IN, MR. HANOVER? I WAS, UM, A STOCKBROKER LIKE MY FATHER. "WAS" IS THE RIGHT WORD FOR IT. FROM THE NEWSPAPER, I HEAR THINGS ARE PICKING UP. YES, THEY ARE. SO THIS SOJOURN HERE IN VIRGINIA (Susan) IS REALLY THE CALM BEFORE THE STORM. TED'S FATHER IS JUST WAITING FOR HIM TO COME BACK AND START AGAIN. AS YOU MAY HAVE SEEN BY NOW MY FAMILY ISN'T TOO KEEN ON PUTTING DOWN NEW ROOTS. YOUR FATHER USED TO SAY THAT HE WAS BORN HERE BY MISTAKE. HE SAID HE ALWAYS BELONGED IN A BIG CITY. HE SAID THE SAME THING ABOUT ME. IT ONLY OCCURRED TO ME RECENTLY THAT HE MIGHT HAVE BEEN WRONG. WELL, WE'RE GLAD YOU'RE HERE TONIGHT. WHO WANTS DESSERT? (children) I DO! (Olivia) CHARLES, DON'T YOU WANT ANY DESSERT? NO. I'D RATHER LOOK AROUND. COME ON, ERIN. SHOW ME THE SIGHTS. MAY I, DADDY? SURE, HONEY. [crockery clattering] (John) WELL, I'M READY FOR DESSERT. [knocking on door] MMM-HMM. ERIN? I'VE GOT A PROBLEM. YEAH? A BIG ONE? A LITTLE ONE? A MEDIUM-SIZED ONE? WHAT KIND OF PROBLEM, ERIN? WELL, KIND OF MEDIUM-SIZED. I'VE NEVER MET ANYBODY LIKE THOSE HANOVER PEOPLE. WELL, YOU AND CHARLIE SEEM TO BE GETTING ALONG PRETTY WELL. YOU KNOW TONIGHT AFTER SUPPER WHEN I SHOWED HIM BLUE AND CHANCE AND EVERYTHING? MMM-HMM. WELL, HE ASKED ME FOR A DATE. WELL, I'M SURE MOM AND DADDY WOULDN'T MIND IF HE CAME OVER. HE WANTS ME TO GO OUT WITH HIM. OUT WHERE? NOWHERE SPECIAL. JUST OUT. HE WANTS ME TO SHOW HIM WALTON'S MOUNTAIN. ERIN, IS THAT THE PROBLEM? WELL, HE'S KIND OF FAST. WHAT IF HE TRIES TO...KISS ME? OH, UH, WELL, YOU'RE A VERY PRETTY GIRL. I'M SURE THERE'S GONNA BE LOTS OF GUYS GONNA TRY TO KISS YOU. WHAT'LL I DO? UH, [clears throat] UH, ERIN, HAS MAMA EVER HAD A TALK WITH YOU ABOUT, UH, UH, KISSING? YEAH, BUT SHE'S SO OLD-FASHIONED. IN WHAT WAY? SHE DIDN'T LET DADDY KISS HER UNTIL THEY'D BEEN GOING TOGETHER FOR A LONG TIME. WELL, IT LOOKS TO ME LIKE CHARLIE HANOVER IS GONNA BE AROUND FOR A LONG TIME. WHAT WILL I DO TOMORROW IF HE TRIES? [sighs] WELL, UH, WELL, DO YOU WANT HIM TO KISS YOU? I THINK. WELL, THEN, I DON'T-- I DON'T SEE WHAT HARM ONE LITTLE KISS COULD DO. THANKS, JOHN-BOY. ERIN? ONE LITTLE KISS. WHAT ELSE IS THERE? [motor whirring] MORNING. MORNING. I, UH, THOUGHT I'D LIKE TO TAKE A LOOK AT YOUR PLACE DURING DAYLIGHT. MAYBE GET SOME IDEAS ABOUT GARDENING, THE KIND OF ANIMALS TO KEEP. THAT SORT OF THING. SURE. LOOK AROUND AS MUCH AS YOU LIKE. DON'T YOU HAVE ANY HELP? USUALLY PA HELPS, BUT HE'S NOT FEELING TOO GOOD THIS MORNING. WELL, IS THERE ANYTHING I CAN DO? NO, I WOULDN'T WANT TO IMPOSE. NO, NO. I'D LIKE TO. IT'S A NEW EXPERIENCE FOR ME. ALL RIGHT. GRAB THE OTHER END OF THIS. WHEN IT'S CUT, WE JUST STACK 'EM OVER THERE. SOUNDS EASY. IT'S HEAVY WORK. I'M GAME. OK. [saw buzzing] IS THAT IT? GOT A VISITOR FOR DINNER, LIV. HELLO, TED. HELLO, OLIVIA. I HOPE YOU DON'T MIND. JOHN'S ASKED ME TO LUNCH. THERE'S PLENTY. SIT DOWN. RIGHT THERE. WHATEVER YOU'RE COOKING SMELLS MARVELOUS, AND I AM FAMISHED. IT'S THE MOUNTAIN AIR. NOT TO MENTION THE FACT THAT I HAVE BEEN MILLING LOGS SINCE THE CRACK OF DAWN. OH, IT JUST SEEMS THAT WAY, TED. ZEB'S GROUCHY AS AN OLD BEAR. SURE SIGN HE'S GETTING BETTER. OH, LORD, TED, YOU DO LOOK LIKE YOUR FATHER. I NOTICED IT LAST NIGHT BUT... YOU'RE THE SPLITTING IMAGE OF HIM. IT'S ONLY PHYSICAL, MRS. WALTON. MY FATHER THRIVES ON BUYING AND SELLING, PLAYING THE MARKET, WHEELING AND DEALING. NO, I'VE FINALLY FOUND WHAT I WANT, AND IT'S THE LIFE YOU FOLKS HAVE RIGHT HERE. IT'S A GOOD LIFE MOST OF THE TIME, TED. YOUR WIFE GET THAT STOVE TO WORKIN'? SHE FINALLY MANAGED A MEAL ON IT THIS MORNING. GOOD. I ONLY WISH, THOUGH, THAT SHE AND THE CHILDREN COULD RELAX AND ENJOY THE LIFE HERE. NOT EVERYONE'S CUT OUT FOR COUNTRY LIVING. I WANTED TO TALK TO YOU ABOUT THAT, OLIVIA. I WAS HOPING THAT YOU COULD GO OVER AND SEE SUSAN. BE HER FRIEND. CONVINCE HER THAT THE LIFE IS GOOD HERE. I'D BE HAPPY TO BE HER FRIEND, BUT I'M NOT GONNA TRY TO CONVINCE HER THIS LIFE IS FOR HER IF IT ISN'T. SHE HAS TO DECIDE THAT FOR HERSELF. COME ON, TED, EAT UP. HAVE SOME OF THOSE CARROTS. [clattering] BEST KINDS YOU EVER TASTED. LEFTOVERS. [knocking on door] COME ON IN, IT'S OPEN. [door opening] [door closing] OH, HELLO. UH, I KNOW YOU'RE ONE OF THE WALTON CHILDREN, BUT I CAN'T REMEMBER WHICH ONE. MARY ELLEN. AH. WON'T YOU SIT DOWN? OH, I JUST STOPPED BY TO SAY THAT OUR TEACHER, MISS HUNTER SAID THAT CHARLES WAS WELCOME TO COME TO OUR SCHOOL. WELL, WHY DON'T YOU TELL HIM YOURSELF? HE'S PROBABLY RIGHT UPSTAIRS. GO RIGHT ON UP. [knocking on door] (Mary Ellen) CHARLES? WHO'S THAT? MARY ELLEN WALTON. COME IN. HELLO. HI. I WAS LOOKING FOR CHARLES. WHAT ON EARTH FOR? WELL, WHEN I WAS IN SCHOOL TODAY I WAS TELLING OUR TEACHER ABOUT YOU MOVING HERE AND SHE SAID THAT CHARLES WAS WELCOME TO COME TO OUR SCHOOL. SO I JUST STOPPED BY TO TELL HIM THAT. SERVES THE LITTLE BRAT RIGHT TO HAVE TO GO TO A LOG SCHOOLHOUSE AFTER THAT PROGRESSIVE PIGPEN IN NEW YORK. DON'T YOU LIKE YOUR BROTHER? NO. DO YOU LIKE YOURS? MOST OF THE TIME. TELL ME ABOUT JOHN-BOY. DOES HE DATE? SOMETIMES. WELL, DOES HE HAVE A STEADY? I DON'T THINK SO. OH, WHERE ON EARTH AM I GONNA WEAR THIS OUT IN THE STICKS? OH, IT'S GORGEOUS. MOTHER BOUGHT IT FOR ME IN PARIS. HAVE YOU BEEN TO PARIS? WE USED TO GO THERE ALL THE TIME BEFORE DAD LOST HIS MONEY. DO YOU LIKE THE DRESS? I THINK IT'S BEAUTIFUL. TRY IT ON. IF IT FITS, YOU CAN HAVE IT. OH, I'D LOVE TO TRY IT ON, BUT I COULDN'T TAKE IT. THESE, TOO. [thudding] LOOKS LIKE THEY MIGHT FIT. I'LL GO DOWNSTAIRS. OH, THE DESIGNER OF THAT DRESS SHOULD PAY YOU TO WEAR IT. I SURE DON'T FEEL LIKE ME. YOU LOOK LIKE A LADY. JUST WAIT. WE'RE NOT THROUGH. COME HERE, SIT DOWN. THIS IS CALLED A TURBAN. BEND DOWN. BRING IT AROUND IN THE FRONT AND TWIST IT. HOLD IT. NOW, TAKE THE PURSE. STAND UP. DIVINE. IT REALLY IS. ALICIA, WHY DON'T YOU GIVE IT TO HER? I ALREADY HAVE. I'VE NEVER SEEN ANYTHING SO BEAUTIFUL IN ALL MY LIFE. [birds chirping] HEY, LOOK! HERE COMES A MOVIE STAR. LOOK, IT'S MARY ELLEN. [whistling] ISN'T THAT SNAZZY? THAT'S GORGEOUS. MARY ELLEN, WHERE DID YOU GET THAT DRESS? IT CAME FROM FRANCE. THE HANOVERS USED TO GO THERE ALL THE TIME BEFORE THEY LOST ALL THEIR MONEY. OH, YEAH? HOW COME WE NEVER WENT THERE? DID YOU LOSE ALL YOUR MONEY? NEVER HAD ANY MONEY TO LOSE, SON. YOU LOOK JUST LIKE GINGER ROGERS. AW, MAMA, QUIT TEASING ME. I'M NOT TEASING YOU. WHERE ARE YOU PLANNING TO WEAR THAT THING AROUND HERE? (Ben) SHE COULD WEAR IT TO A DOG FIGHT. OR A CORN SHUCKING. OR A WEENIE ROAST. OH, I'VE HAD IT WITH YOU! OH, NOW LOOK WHAT YOU'VE MADE ME DO. MARY ELLEN, COME BACK HERE. WHAT'S BOTHERING HER? (Jason) DON'T KNOW, WE WERE ONLY TEASING. BACK TO YOUR CHORES. NO NEED FOR HER TO GET THAT UPSET. I'LL GO SEE TO HER. [door slamming] [knocking on door] (Mary Ellen) WHAT? I'D LIKE TO TALK TO YOU A MINUTE. MAMA, JUST GO AWAY. PLEASE DON'T SPEAK TO ME LIKE THAT. LIKE WHAT? YOU KNOW WHAT I MEAN. I'M TIRED OF BEING TREATED LIKE A BABY AROUND HERE. MARY ELLEN, WHAT IS BOTHERING YOU? YOU'VE BEEN TEASED BY THE BOYS BEFORE. WHY ARE YOU SO ANGRY? IT CAN'T BE BECAUSE OF THAT SILLY DRESS. THAT'S JUST WHAT I MEAN. IT IS NOT A SILLY DRESS. IT'S WONDERFUL, AND I LOOK BEAUTIFUL IN IT. YES, YOU DO. IT'S JUST NOT A DRESS THAT BELONGS HERE. WELL, MAYBE I DON'T BELONG HERE, EITHER. I'M SORRY, BUT I WANT MORE OUT OF MY LIFE THAN JUNKY DRESSES MADE FROM CHEAP PIECES OF MATERIAL THAT I BUY FROM IKE GODSEY'S STORE. MARY ELLEN, YOU'RE VERY YOUNG. BUT WHEN YOU GROW UP A LITTLE I HOPE YOU'LL WANT MORE FOR YOURSELF THAN YOU DO RIGHT NOW. WHAT YOU WEAR HAS NOTHING TO DO WITH WHAT YOU ARE. I'LL EXPECT YOU DOWNSTAIRS TO HELP ME START SUPPER IN AN HOUR. [birds chirping] AND THIS IS WHERE WE HAVE RECESS. AND WHAT DO YOU DO AT RECESS? OH, WE PLAY GAMES LIKE HIDE AND GO SEEK AND BLIND MAN'S BLUFF. STUFF LIKE THAT. [sighs] HOW CAN YOU STAND ALL THE EXCITEMENT? SOMETIMES I THINK YOU'RE MAKING FUN OF ME, BUT I'M NEVER REALLY SURE. [chuckling] WOULD I DO THAT? I DON'T KNOW. THIS SWING IS ONLY MADE FOR ONE PERSON AT A TIME. DON'T YOU LIKE ME BEING CLOSE TO YOU? UM, WELL, I DO AND I DON'T. IT MAKES ME NERVOUS. YOU CAN TRUST ME, ERIN. AH. OH, NO. (Charles) WANNA GO HIGHER? NO. (Erin) OH, NO! [creaking] HEY, YOU'RE TERRIFIC. THE GIRLS BACK HOME WOULD HAVE FAINTED ON THE SPOT. WHAT'S SO SCARY ABOUT AN OLD SWING? YOU WANNA TRY AGAIN? NO. YOU'RE OK, ERIN. DON'T DO THAT. WHY NOT? BECAUSE I SAID SO. ERIN, IF YOU AND I ARE GOING TO BE FRIENDS YOU'VE GOT TO BE A LOT LESS PROVINCIAL. WHAT DOES "PROVINCIAL" MEAN? COUNTRIFIED. IS THAT WHAT YOU THINK I AM? I HAVEN'T MADE UP MY MIND ABOUT YOU YET. LET'S JUST SAY THAT I'M THINKING ABOUT IT. OK? WHERE'S ERIN AND MARY ELLEN? I DON'T SEE WHY I HAVE TO DO ALL THIS WORK BY MYSELF. MARY ELLEN'S HAVING A BAD DAY, AND I DON'T KNOW WHERE ERIN IS. ANYBODY HOME? COME ON IN, ALICIA. HAVE YOU SEEN ERIN ANYWHERE? OH, SHE'S PROBABLY SOMEWHERE FIGHTING OFF MY BROTHER. WHAT DID YOU SAY? OH, A FEEBLE JOKE. HE CONSIDERS HIMSELF A LADIES' MAN, BUT HE'S REALLY JUST A DISGUSTING BRAT. YOU SHOULDN'T TALK ABOUT YOUR BROTHER LIKE THAT. LA-DI-DA. ALICIA, YOU MAY GET AWAY WITH TALKING TO YOUR MOTHER LIKE THAT, BUT DON'T YOU TRY THAT ON ME. I'M SORRY. I REALLY DIDN'T MEAN ANYTHING. I'M SURE YOU DIDN'T. I JUST DON'T LIKE THE SOUND OF IT. NOW, DID YOU WANT SOMETHING? IS JOHN-BOY HERE? HE'S UPSTAIRS DOING HIS HOMEWORK. WELL, I'LL GO UPSTAIRS AND SEE HIM. JUST A MINUTE. JOHN-BOY? ALICIA HANOVER'S HERE TO SEE YOU. (John-Boy) OK. HE'LL BE RIGHT DOWN. [footsteps approaching] HI. JOHN-BOY. I'M GLAD YOU'RE HERE, I COULD USE A BREAK. WOULD YOU LIKE TO GO FOR A WALK? YES. YES, THAT WOULD BE NICE. (Alicia) I WANTED TO TALK TO YOU ABOUT READING SOME OF YOUR WORK. (John-Boy) OK. MAMA-- JOHN-BOY, DON'T BE LATE. THERE'S CHORES TO BE DONE. OH, WE WON'T. COME ON. COME ON, THERE'S WORK TO BE DONE. JUST A SECOND. GIVE HER A CHANCE. THAT'S IT FOR ME. I GOT TO GO WORK ON MY STORIES. WHAT ABOUT YOUR HOMEWORK, SON? WELL, THAT CAN WAIT FOR TONIGHT. ALICIA HANOVER WROTE A LETTER TO MAXWELL PERKINS, THAT EDITOR IN NEW YORK, (John-Boy) AND SHE TOLD HIM SHE WAS SENDING HIM SOME WORK BY A "NEW, YOUNG WRITER." SO I GOT TO GET A COUPLE OF MY STORIES IN SHAPE. HE'S A VERY IMPORTANT MAN. THAT GIRL HAS BEEN WORRYING JOHN-BOY SO HARD ABOUT HER IMPORTANT PUBLISHING FRIENDS HE'S COMPLETELY FORGOTTEN ABOUT HIS SCHOOLWORK. OH, MAMA, DON'T BE SO PROVINCIAL. NOW, WHAT'S THAT SUPPOSED TO MEAN? IT'S SOMETHING SHE LEARNED FROM THE LOVE OF HER LIFE, CHARLES HANOVER. OH, MARY ELLEN, WHY DON'T YOU JUST SHUT UP? ERIN, DON'T TALK TO YOUR SISTER THAT WAY. OK, I WON'T TALK TO HER AT ALL. YOU MAY LEAVE THE TABLE AFTER YOU'VE BEEN EXCUSED. MAY I BE EXCUSED, PLEASE? YES, YOU MAY. DADDY, WHAT'S GOING ON AROUND HERE? WELL, I DON'T KNOW, HONEY. EVERYONE'S ACTING SO CRAZY LATELY. IT'S THE CURSE OF THE HANOVERS. OH, GOOD LORD. YOU'RE JUST ACTING SILLIER THAN USUAL. STOP IT. SEE WHAT I MEAN? [hammering] FOR A MAN WHO JUST GOT OUT OF A SICKBED, I HOPE YOU'RE NOT OVERDOING IT, MR. WALTON. THEODORE, IF YOU FEEL SO STRONGLY ON THAT SUBJECT MAYBE YOU WOULD TAKE OVER FOR ME FOR A SPELL. [Grandpa grunting] UM, WHAT KIND OF CHICKENS DO YOU THINK I OUGHT TO STOCK UP WITH? WHITE LEGHORNS ARE GOOD FOR EGGS. RHODE ISLAND REDS ARE GOOD FOR EATING. BUFF ORPINGTONS, TOO, IF YOU CAN LAY YOUR HANDS ON SOME AROUND HERE. YOU KNOW, THIS PLACE IS REALLY BEGINNING TO GROW ON ME. I'M EATING BETTER. I'M SLEEPING BETTER. I'M JUST FEELING BETTER IN GENERAL. (Ted) YOU'D HAVE TO DYNAMITE ME OUT OF THIS PLACE. MY FATHER WAS CRAZY TO LEAVE ALL THIS. MAYBE HE WAS RIGHT. WE'RE NOT ALL CUT OUT FOR THIS KIND OF LIFE. YEAH, BUT DON'T YOU THINK A MAN SHOULD TEACH HIS CHILDREN THAT THERE ARE OTHER WAYS OF THINKING BESIDES HIS OWN? WELL, MOST OF US HOPE OUR CHILDREN WILL GROW UP BELIEVING WHAT WE BELIEVE. MY FATHER DIDN'T JUST HOPE, HE INSISTED. SEEMS TO ME LIKE YOU MUST HAVE AGREED WITH HIM IN A WAY OR ELSE YOU'D BEEN DOWN HERE A LONG WHILE BACK. SOMETIMES IT TAKES A SHOCK TO KNOCK SOME SENSE INTO A MAN'S HEAD. NO, I CAME OUT HERE TO FIND A BETTER LIFE. WELL, I HEAR LIFE BACK THERE WASN'T SO BAD. GET UP IN THE MORNING, PUT ON A CLEAN SHIRT AND SUIT, GO TO YOUR JOB, EAT IN RESTAURANTS, GO ON VACATION. HOW MANY TIMES YOU BEEN TO EUROPE? OH, I DON'T KNOW. WE USED TO GO EVERY SUMMER, BUT THAT'S NOT THE POINT. MAYBE IT'S NOT THE POINT. MAYBE I COULDN'T LIVE THAT KIND OF A LIFE, BUT PARTS OF IT SOUND REAL GOOD TO ME. BY THE SAME TOKEN, YOUR LIFE HAS A LOT OF APPEAL TO ME. THE SIMPLICITY OF IT ALL. [chuckling] IT'S SIMPLE, ALL RIGHT. UP AT 6:00, WORKING PAST DARK, NEVER KNOW WHETHER YOU HAVE ENOUGH FOOD OR CLOTHES FOR YOUR FAMILY. SEE HERE, THEODORE, JUST HOW DO YOU PROPOSE MAKING A LIVING AROUND HERE? DO YOU HAVE ANY IDEAS, JOHN? I MEAN, I'VE GOT ENOUGH CAPITAL LEFT TO START SOME KIND OF A NEW LIFE. WELL, YOU COULD START A LITTLE FARM. WHEAT, CORN, RAISE SOME CATTLE, CHICKENS. MAYBE HAVE A TRUCK GARDEN. START A SAWMILL, LIKE ME. WHATEVER YOU DO, IT'S GONNA TO BE HARD WORK. WELL, NOTHING MUCH DIFFERENT BETWEEN CITY LIVIN' AND COUNTRY LIVIN', IN A WAY. NOTHING ON THIS EARTH IS PROVIDED FOR UNLESS YOU PROVIDE IT YOURSELF. TED, YOU GOT TIME TO FIGURE OUT WHAT YOU WANT TO DO, BUT LET ME TELL YOU, COME WINTER, THINGS GET REAL ROUGH AROUND HERE. [clears throat] YEAH, WELL, UM, THIS JOB LOOKS PRETTY WELL FINISHED TO ME, WHY DON'T WE CALL IT A DAY? GREAT IDEA. ANYTHING YOU SAY. AND, UM, I'LL LET YOU KNOW WHAT I DECIDE. THANKS FOR EVERYTHING. MMM. IS IT READY? HOW DID YOU KNOW? I JUST TOOK THE PAPER OFF. CHARLES? MAMA, MAY CHARLES AND I GO FOR A WALK? WHERE TO? JUST UP THE ROAD. BE BACK IN TIME FOR SUPPER. IS IT ALL RIGHT WITH YOU, SUSAN? OH, YES, OF COURSE, GO AHEAD. HERE, HAVE A PIECE. NO, IT GOES RIGHT TO MY HIPS. THE GOOD THING ABOUT THIS IS IT'S SO RICH YOU DON'T EAT TOO MUCH OF IT. COME ON. MMM. OH, THAT'S INCREDIBLE. I'LL GIVE YOU THE RECIPE. OH! [laughing] THANK YOU SO MUCH. OH, I DO LOVE CANDY. I THINK IT'S ONE OF MY GREAT WEAKNESSES. I BET YOU I BOUGHT CANDY IN EVERY COUNTRY IN EUROPE. YOU'VE BEEN TO THEM ALL? WELL, EXCEPT FOR RUSSIA. YES, I--I GUESS WE HAVE. WHICH ONE DO YOU LIKE BEST? ITALY. OH, ROME IS MY FAVORITE CITY IN THE WORLD AFTER NEW YORK. ITALIANS HAVE SUCH A WONDERFUL APPROACH TO LIFE. DO YOU KNOW THAT EVERY NIGHT, ABOUT 6:00, THEY TAKE WHAT THEY CALL A PASSEGGIATA. SOUNDS WONDERFUL, WHAT DOES IT MEAN? WELL, IT'S A WALK, REALLY. EVERYBODY SEEMS TO COME OUT OF THEIR HOUSE AT THE SAME TIME. AND THEY WALK AND THEY TALK, AND THEY LOOK IN SHOP WINDOWS, AND THEN THEY STOP BY A LITTLE SIDEWALK CAFE FOR COFFEE. THEN THEY ALL GO HOME. BUT THEY ALL COME BACK OUT LATER FOR DINNER. WHAT TIME DO THEY EAT? 9:00 OR 10:00. WE'VE BEEN IN BED FOR AN HOUR BY THEN. OLIVIA... OH, YOU WOULD LOVE ROME AND PARIS. PLEASE DON'T SAY ANY MORE. I ALWAYS YEARNED TO GO TO THOSE PLACES, AND HEARING YOU TALK ABOUT THEM JUST MAKES THE FEELING ALL THAT MUCH STRONGER. I'M VERY IMPRESSED. REALLY? THANK YOU. NOW, THE QUESTION IS, WHAT ARE YOU GOING TO DO ABOUT IT? [water running] WHAT DO YOU MEAN? WHAT ARE YOU GOING TO DO ABOUT YOUR WRITING? OH. UH, [birds chirping] JUST KEEP ON WRITIN'. BUT TO WHAT END? TO GET TO BE AS GOOD AS I CAN GET TO BE, I RECKON. [sighs] NO, THAT'S NOT WHAT I MEAN. UH, WHAT ARE YOUR AMBITIONS? WHERE DO YOU SEE YOURSELF 10 YEARS FROM TODAY? 10 YEARS? THAT'S A LONG WAY OFF. UH, PROBABLY I'LL BE LIVING IN SOME BIG CITY SOMEWHERE. NEW YORK. ALL RIGHT, NEW YORK. AND, UH, I RECKON I'LL BE SELLING MY WORK BY THEN, SO I'LL HAVE A-- WELL, NOT TOO FANCY, NICE APARTMENT. AND, UH, I'D LIKE TO SORT OF HAVE ONE OVERLOOKING A RIVER. SOMETHING LIKE THAT. YOU KNOW, BIG WINDOWS AND A NICE FEELING TO IT. JUST SO I CAN DO MY WORK. [laughs] SOUNDS KIND OF LIKE THOMAS WOLFE, DOESN'T IT? NO WOMAN? WOMAN? WELL, SURE. WELL, I--I GUESS SHE'S JUST SO MUCH A PART OF MY LIFE I FORGOT TO MENTION HER. WHO WILL SHE BE? I DON'T KNOW. OH, MY WIFE. YOUR WIFE? OF COURSE. I THINK THAT A WRITER COULD THINK OF A BETTER STORY ABOUT WHAT HIS LIFE WAS GOING TO BE LIKE. JOHN-BOY, I THINK THE TIME HAS COME FOR YOU TO GET OUT OF HERE. WELL, I ALREADY SAID I PLAN TO BE MOVING ON SOMEDAY. NOW, WHILE YOU'RE YOUNG AND YOUR SENSES ARE ALIVE. WELL, MY SENSES PLAN TO STAY ALIVE FOR A LONG TIME. YOU MAY THINK THAT NOW, BUT YOU'RE WRONG. THINGS HAPPEN TO PEOPLE AS THEY GET OLDER. ALICIA, I'M IN COLLEGE, AND I LIKE BEING IN COLLEGE, AND I WANT TO FINISH COLLEGE. AND EVEN IF I DIDN'T LIKE IT, MY PARENTS GAVE UP AN AWFUL LOT SO I COULD GO THERE. AND I DON'T THINK IT WOULD BE REALLY FAIR-- ARTISTS DON'T HAVE TIME FOR GRATITUDE. [sighs] THEY HAVE TO TAKE EVERYTHING THEY CAN GET. THEY'RE SPECIAL PEOPLE. GIFTED PEOPLE ARE PRIVILEGED. YOU'D BETTER START THINKING OF YOURSELF THAT WAY. WELL... I DON'T KNOW ABOUT THAT, BUT I APPRECIATE YOUR READING THIS FOR ME. YOU'LL HAVE TO MAKE SOME CHANGES, YOU KNOW? NO. WHY? BECAUSE I DON'T THINK IT'S SALABLE THE WAY IT IS NOW. [sighs] SEE THIS FIRST PARAGRAPH? NOW, I DON'T THINK YOUR OPENING SENTENCE IS ENOUGH OF AN ATTENTION GETTER. WELL, I DO. I REWROTE IT 4 TIMES. WELL, THAT PROVES I'M RIGHT. YOUR INSTINCTS WERE TRYING TO TELL YOU SOMETHING AND YOU JUST WEREN'T LISTENING. NOW, WHY NOT MOVE THIS PARAGRAPH UP HERE? THEN THE WHOLE FEELING OF THE PIECE IS TOUGHER. WELL, MY INTENTION WASN'T TO BE TOUGH. WELL, THAT'S NOT THE POINT. ALL THE SUCCESSFUL NEW BOOKS ARE BEING DONE THAT WAY. IT'S A NEW WAVE IN LITERATURE-- ALICIA ALICIA, I DON'T WANT TO WRITE SOME CERTAIN WAY BECAUSE IT'S A NEW WAVE IN LITERATURE AND EVERYONE ELSE IS DOING IT. THAT'S NO REASON TO WRITE IN A CERTAIN STYLE. JOHN-BOY, YOU HAVE SO MUCH TO LEARN. [sighs] I REALLY WORRY ABOUT YOU. ISN'T IT A NICE DAY? WHO CARES? OH, CHARLES, WHAT ARE YOU BEING LIKE THAT FOR? ERIN, THERE'S NOTHING TO DO AROUND HERE. SUN COMES UP, THEN IT GOES DOWN. AND IN BETWEEN, EXCRUCIATING BOREDOM. WE'RE NOT BORED. WELL, I GUESS YOU DON'T MISS WHAT YOU'VE NEVER HAD. I'M USED TO MOVIES AND DANCES AND SPORTS. WE PLAY BASEBALL. IN A CLEARING OF SOME PINE TREES. I'M USED TO YANKEE STADIUM. YOU REALLY DON'T WANT TO STAY HERE, DO YOU? NO. [water running] IF I LEFT, WOULD YOU MISS ME? YES, I WOULD. I'D MISS YOU TOO, ERIN. I REALLY WOULD. I THOUGHT YOU WEREN'T SURE IF YOU LIKED ME. WELL, I AM NOW. WELL, I'M GLAD, CHARLES, BECAUSE I REALLY LIKE YOU, TOO. WHAT ARE YOU DOING? I WANNA KISS YOU. WELL, ALL RIGHT. [birds chirping] I'D LIKE TO KISS YOU AGAIN. I DON'T THINK SO. DIDN'T YOU LIKE IT? YEAH, BUT I THINK WE SHOULD ONLY KISS ONCE. OH, DON'T BE A BABY. DON'T! I DON'T WANT TO! BUT I DO. [fabric tearing] LEAVE ME ALONE! I THOUGHT YOU WERE NICE, AND I THOUGHT WE COULD BE FRIENDS. I'VE GOT NO TIME TO BE FRIENDS WITH BABIES. YOU'RE BEING SO STUBBORN I COULD SCREAM. ALICIA, I KNOW WHAT I MEANT WHEN I WROTE THAT STORY, AND WHAT YOU'RE ASKING ME TO DO WOULD CHANGE THE WHOLE MEANING. SO WHAT? THE IMPACT WILL KNOCK THE READER DOWN. NO. I CAN'T DO THAT. I DON'T WANT IT TO BE READ THAT WAY. I'D RATHER IT DIDN'T GET READ AT ALL. YOU'RE BEHAVING LIKE SOME SIMPLE-MINDED BUMBLE-BRAIN. NEXT THING YOU'LL TELL ME IS THAT YOU BELIEVE IN ART FOR ART'S SAKE. ALICIA, THERE'S NO NEED TO GET SO ANGRY ABOUT IT, I JUST WANNA FEEL GOOD ABOUT WHAT I WRITE. AND WHEN I'M FINISHED, I DON'T WANT TO FEEL LIKE I'VE WRITTEN TO SATISFY SOMEBODY ELSE JUST BECAUSE THEY MIGHT BE ABLE TO GET IT PUBLISHED. [sighs] YOU'RE A FOOL, JOHN-BOY. A FOOL. WELL, YOU'RE NO LADY! ANYBODY EVER TELL YOU THAT? ERIN? I COULD USE A HAND HERE. OH, ERIN, I'VE BEEN LOOKING FOR YOU. THERE'S A PICTURE HERE OF GINGER ROGERS. ERIN, YOU'RE HOME EARLY. YOU ALL RIGHT? WHAT'S THE MATTER, HONEY? WHAT HAPPENED? MAMA, DO YOU HAVE TO LET SOMEONE KISS YOU MORE TIMES THAN YOU WANT TO KISS THEM? DID SOMEBODY WANT TO KISS YOU? CHARLES HANOVER. AND DID YOU WANT TO KISS HIM? YES, BUT JUST ONCE. AND HE WANTED MORE? YES, BUT I DIDN'T. I GUESS I DIDN'T WANT TO ENOUGH. THEN YOU WERE QUITE RIGHT NOT TO. BUT HE GOT SO MAD, AND HE CALLED ME A BABY. ERIN, YOU DON'T EVER HAVE TO DO ANYTHING YOU DON'T REALLY WANT TO DO. BUT WHY DID HE GET SO MAD? BECAUSE CHARLES HANOVER IS USED TO GETTING EVERYTHING HE WANTS WHEN HE WANTS IT. AND WHEN HE DOESN'T, HE BEHAVES LIKE A BABY. THAT'S JUST WHAT HE WAS LIKE, AN ANGRY LITTLE BABY. ERIN, I'M PROUD OF YOU. WHY? BECAUSE ACTING LIKE A GROWNUP IS ONE OF THE HARDEST THINGS IN THE WORLD TO DO. AND YOU DID IT TODAY. MAMA, WHAT IF I SEE CHARLES? WELL, WHY DON'T YOU TELL HIM HOW YOU FEEL ABOUT WHAT HAPPENED? THEN MAYBE YOU TWO CAN REMAIN FRIENDS. IF HE'S GROWN-UP ENOUGH TO LISTEN TO YOU. MAMA, WHEN CHARLES GRABBED ME, I GOT SCARED AND I PULLED AWAY AND I RIPPED MY DRESS. THAT'S ALL RIGHT, HONEY. DON'T YOU WORRY ABOUT THAT. THANK YOU, MAMA. I GUESS I BETTER GO FIND MARY ELLEN. SHE PROBABLY THINKS I'VE GONE CRAZY. WHAT IS IT, HONEY? I'D LIKE TO TALK TO YOU A MINUTE. RIGHT NOW? YES. SOMETHING'S GOING ON HERE, AND I DON'T LIKE IT. EVERY SINGLE PERSON IN THIS HOUSE IS UPSET BECAUSE OF THE HANOVERS. ALICIA'S BEEN AT JOHN-BOY SO HARD ABOUT HIS WRITING HE'S STOPPED DOING HIS SCHOOLWORK. ALL MARY ELLEN CAN THINK ABOUT IS MARRYING SOME MILLIONAIRE AND BUYING ALL THE CLOTHES SHE WANTS. I WOULDN'T WORRY ABOUT MARY ELLEN OR JOHN-BOY, EITHER. THEY'LL GET OVER IT. IT'S EVEN GETTING TO ME. SUSAN WAS HERE THE OTHER DAY TALKING ABOUT HOW WONDERFUL ROME, ITALY IS, AND ALL OF A SUDDEN I STARTED FEELING DULL AND FOOLISH JUST BECAUSE I'VE NEVER BEEN THERE OR HADN'T HAD SUPPER AT 10:00 AT NIGHT. WE CAN HAVE SUPPER AT 10:00 AT NIGHT ANYTIME YOU WANT IF I CAN STAY AWAKE THAT LATE. I'M SERIOUS. NOW, I KNOW IT'LL ALL BLOW OVER, BUT ERIN'S DIFFERENT. WHAT ABOUT ERIN? CHARLES HANOVER KISSED HER. AND WHEN SHE WOULDN'T GO ALONG WITH MORE KISSING THERE WAS SOME KIND OF STRUGGLE AND... DID SHE GET HURT? NO, NOT PHYSICALLY. WELL, HER FEELINGS GOT HURT A LITTLE. SHE'S ALL RIGHT. SHE KNOWS SHE DID WHAT SHE SHOULD HAVE DONE, BUT... I JUST DON'T WANT MY CHILDREN EXPOSED TO THAT KIND OF THING. AND I DON'T, EITHER. I'LL TAKE CARE OF IT. OH, HI, JOHN. SUSAN'S BEEN ADMIRING THESE ELM TREES, SO I WENT OUT IN THE WOODS AND DUG ONE UP FOR HER. I'M TRANSPLANTING IT. [birds chirping] THIS TREE'S NOT GOING TO LIVE, TED. WHAT MAKES YOU SAY THAT? YOU'VE CUT THE TAPROOT TOO SHORT. YOU DIDN'T LEAVE IT ENOUGH ROOT FOR IT TO FEED ITSELF. OH. WELL, I GUESS I HAVE A WHOLE LOT MORE TO LEARN ABOUT COUNTRY LIFE, DON'T I? TED, YOU'VE BEEN TALKING TO ME FOR WEEKS ABOUT COUNTRY LIFE AND ABOUT CITY LIFE, AND I DON'T THINK ANY OF THAT TALK IS IMPORTANT. WELL, NOW, IT'S IMPORTANT TO ME. WHAT'S IMPORTANT IS WHAT'S HAPPENING TO YOUR FAMILY. IT SEEMS TO ME YOUR WIFE AND CHILDREN ARE PAYING A HEAVY PRICE FOR YOUR CONFUSION. A HEAVY PRICE? NOW, JUST A MINUTE, JOHN-- ESPECIALLY THOSE CHILDREN OF YOURS. THEY DON'T KNOW WHO THEY ARE. THEY DON'T KNOW HOW TO BEHAVE. THEY DON'T KNOW WHAT THEIR LIMITS ARE. WAIT A MINUTE. HAS ONE OF MY KIDS GOTTEN OUT OF LINE? YOUR SON, CHARLES, GOT ROUGH WITH MY DAUGHTER ERIN. HE ACTED LIKE A BIG-SHOT LADIES' MAN. HE GOT CARRIED AWAY WITH HIMSELF. IS SHE ALL RIGHT? SHE'S ALL RIGHT. I JUST DON'T WANT ANYTHING LIKE THAT TO HAPPEN AGAIN. I KNOW, AND I'M SORRY. I GUESS I JUST HAVEN'T BEEN ON TOP OF THINGS. THAT'S RIGHT, I GUESS YOU HAVEN'T. YOU KNOW, TED, YOU AND ME DON'T HAVE MUCH IN COMMON. BUT ONE THING WE DO HAVE IN COMMON ARE CHILDREN. IT SEEMS TO ME WHEN CHILDREN ARE INVOLVED A MAN'S GOT TO FORGET HIS OWN CONFUSION. GIVE THEM THE ATTENTION AND THE GUIDANCE THEY NEED. I KNOW. AND I HAVEN'T BEEN DOING THAT. I'VE BEEN TOO INVOLVED IN MY OWN PROBLEMS TO PUT FIRST THINGS FIRST. DON'T YOU THINK MAYBE IT'S TIME YOU STARTED? YEAH. YES, I DO. THAT'S ALL I CAME OVER TO SAY. THANKS, JOHN. HEY, JOHN-BOY. BEEN OUT READING YOUR STORIES TO THE ORIOLES? NO. ALICIA HANOVER. YOU DON'T SOUND TOO HAPPY ABOUT IT. WELL, I'M A LOT HAPPIER THAN SHE IS. I'VE NEVER SEEN ANYBODY SO MAD IN MY LIFE. WHY, DIDN'T SHE LIKE THEM? JUDGING BY HER REACTION, NO. SHE THREW THEM AT ME. WHAT? SHE THREW THEM AT ME. WE WERE JUST HAVING A SILLY LITTLE ARGUMENT ABOUT VALUES IN WRITING AND SHE GOT ALL UPSET AND SHE THREW 'EM AT ME. SAID I DIDN'T UNDERSTAND A THING. YOU DESERVE A BETTER FATE THAN THAT. I AGREE. I'D LIKE TO THROTTLE HER. HOLD ON, JOHN-BOY. UH, THROUGH THE YEARS, I'VE LEARNED ANYTIME YOU FEEL LIKE THROTTLING A WOMAN YOU BETTER TAKE IT OUT ON A PILE OF WOOD. [birds chirping] YOU WANT IT STACKED OR SAWED? [chuckling] JUST A MINUTE. I--I THINK I'D LIKE TO READ 1 OR 2 OF YOUR STORIES MYSELF, JOHN-BOY. TAKE YOUR PICK. JUST, PLEASE, DON'T THROW 'EM AT ME WHEN YOU'RE FINISHED, OK? DID YOU TALK TO TED? YES, I DID. I THINK THINGS'LL BE BETTER FROM NOW ON. THANK YOU. WHAT HAPPENS TO FAMILIES LIKE THAT? WELL, I GUESS THEY TRY TO GET BACK ON THEIR FEET AND LEAD HAPPY LIVES. HOPE THEY WORK IT OUT. I GUESS WE WERE JUST LUCKY, HUH? GUESS WE WERE. [groans] WELL, THERE MIGHT BE SOME HOPE FOR ME AFTER ALL. I HAVE MANAGED TO MAKE A CASSEROLE THAT LOOKS EDIBLE. AND IF YOU'RE WILLING TO RISK YOUR LIFE, YOU CAN TRY MY LEMONADE. [birds chirping] YOU DON'T TRUST ME. THIS WAS SUPPOSED TO BE A SURPRISE FOR YOU. OH, WELL, YOU DO KEEP TRYING. WHAT'S THE MATTER WITH IT? IS IT SICK? IT'S DYING. I CUT THE WRONG ROOT OR SOMETHING. I JUST, JUST DIDN'T KNOW. [Ted sighing] WELL, IT WAS A NICE THOUGHT. THANK YOU, ANYWAY. TED, WHAT ARE WE REALLY DOING HERE? I'M NOT SURE ANYMORE. DID YOU REALLY THINK IT WOULD BE LIKE THE DAYS WHEN YOU'D SAY: "LET'S GO TO PARIS," AND I'D SAY, "OK, WHEN DO WE SAIL?" NO, NO, THOSE WERE JUST FUN TRIPS. OH, YES, THEY WERE FUN. AND I'M SO GLAD WE TOOK 'EM. BUT THIS WAS SUPPOSED TO BE SOMETHING QUITE DIFFERENT. I KNOW. THOSE WERE JUST ESCAPES TO GET AWAY FROM THE REALITY OF NEW YORK FOR A FEW WEEKS. I KNOW. DO YOU THINK I'VE BEEN KIDDING MYSELF AND THAT'S WHAT THIS TRIP IS, TOO? WELL, THE REALITIES IN NEW YORK HAD GOTTEN PRETTY HARSH. I KNOW. THEN WE CAME OUT HERE, AND THIS PLACE BECAME FAR MORE REAL THAN I EVER IMAGINED. JUST-- JUST THINK HOW WE MUST LOOK TO JOHN AND OLIVIA WALTON. [laughs] WELL, JUST THE SAME AS THEY'D LOOK TO US IF THEY MOVED INTO AN APARTMENT ON PARK AVENUE WITHOUT HONESTLY WANTING TO BE THERE. I GUESS I DID ALL THIS TO RUN AWAY FROM OUR OLD LIFE. LET'S GO BACK, SUSAN. LET'S GO BACK TO NEW YORK. OK. I ALMOST SAID, "WHEN DO WE SAIL?" YES... YES, LET'S GO BACK IF YOU REALLY WANT TO. BUT I THINK IT'S VERY IMPORTANT THAT YOU KNOW WHY. THIS WAS ALL A DREAM. YOU KNOW, MY FATHER WAS RIGHT ABOUT ONE THING. HE SAID THAT EVERY MAN WAS BORN TO DO A CERTAIN THING. AND I'VE SUDDENLY REALIZED THAT I WAS NOT BORN TO BE A FARMER. DO YOU KNOW, TED, I HAVE NEVER CARED WHAT YOUR FATHER THOUGHT. BUT AS FOR YOU, THAT'S SOMETHING ELSE. OK, WHEN DO WE SAIL? WELL, WE'RE FINALLY OFF. OH, OLIVIA, WE'RE HERE. HELLO, SUSAN. [sighs] THERE'S THE TAXI. I KNOW. WILL YOU WRITE TO ME? SURE. YOU TOO, OK? MMM-HMM. ERIN... OK. [birds chirping] GOOD LUCK, TED. THANK YOU. TED, WOULD YOU DO ME A FAVOR? OF COURSE, MRS. WALTON. WELL, WOULD YOU GIVE THIS TO YOUR FATHER? I--I THINK IT MIGHT AMUSE HIM. ARE YOU SURE YOU WANT TO PART WITH THIS? WELL, NO, I'M NOT. BUT ZEB THINKS IT'S BEEN AROUND LONG ENOUGH. INDEED, I DO. CHARLES, ARE YOU READY? YES, MA'AM. BYE. BYE. THANK YOU, OLIVIA. TAKE CARE. MMM-HMM. OH, AND SAY GOODBYE TO THE REST OF THE CHILDREN AND TO JOHN-BOY. ALICIA, JOHN-BOY SAID TO SAY GOODBYE. HE'S IN SCHOOL. GIVE MY BEST TO BERTRAM. AND SABRINA. HERE YOU GO. UH, THANKS AGAIN, JOHN. ALL RIGHT. (Susan) DON'T FORGET NEXT SUMMER. HAVE A GOOD TRIP. BYE. (all) BYE-BYE. (John-Boy) WE WERE NEVER TO SEE THE HANOVERS AGAIN. ALTHOUGH ERIN DID RECEIVE ONE LETTER FROM CHARLES. SHE CARRIED IT AROUND FOR A WHILE, PINNED INSIDE HER DRESS OVER HER HEART, BUT THEN A NEW BOY CAME ALONG AND THE LAST REMINDER OF THE HANOVERS WENT OUT OF OUR LIVES. (John) LIV? (Olivia) HMM? I THINK I CAN LET GO OF THE BOYS WHEN THE TIME COMES. [crickets chirping] BUT I DON'T KNOW HOW IT'S GOING TO BE TO GIVE THE GIRLS TO SOME OTHER MAN. YOU PROBABLY WON'T HAVE MUCH TO SAY ABOUT IT. LIV? YES? MAYBE THEY'LL BE OLD MAIDS. [chuckling] I WOULDN'T COUNT ON IT. LIV, I LOVE YOU. WILL YOU GO TO SLEEP? GOOD NIGHT, LIV. GOOD NIGHT, JOHN. (Ben) GOOD NIGHT, MAMA. GOOD NIGHT, DADDY. (Mary Ellen) GOOD NIGHT, MAMA. GOOD NIGHT, DADDY. (Olivia) NOW LOOK WHAT YOU'VE STARTED. (Erin) GOOD NIGHT, MAMA. GOOD NIGHT, DADDY. (Jason) GOOD NIGHT, DADDY. GOOD NIGHT, MAMA. (John) GOOD NIGHT. (Olivia) GOOD NIGHT.