NANCY: Hello, Mr. Moroney.
- Hello, Nancy, the show's almost over.
Oh, I know, I know.
[WOMAN SINGING IN DISTANCE]
[WHISTLES]
Scotty, you ought
to be ashamed of yourself.
- You come along with me.
MAN: Shh!
- Nancy, there's a show going on out there.
- Hello, Arthur. Arthur?
Arthur, I want you to meet my leading man.
Mr. Sheldan, Mr. Barrett.
- How do you do, Mr. Sheldon?
- Hi.
- Arthur produces all of Mother's shows.
- Gosh.
He's not very talkative.
Well, you two ought to make a great team.
Aren't you supposed to be up at school?
Yes, we came down
for Mother's party tonight.
On the way down,
Scotty had the worst car trouble...
- Shh! Nancy, the finale's starting.
- Come on, I want you to see Mother.
[SINGING]
And through the years I'll remember
The love that was never quite mine
Time and time again
You'll hear me call
And, darling, then
You'll know I need you
Tell me I'll be free
To keep a perfect memory
Don't let me heed you
I need you
One kiss to last us forever
Then let our moment be through
And time and time again
My heart will sigh remembering when
I gave my love
To you
Time and time again
You'll hear me call
And, darling, then
You'll know I need you
He needs you
Tell me we'll be free
To keep a perfect memory
Don't let me heed you
I need you
- One kiss to last us forever
- One kiss to last us forever, my darling
- Then let our moment be through
- And then let our moment be through
Time and time again
My heart will sigh remembering when
I gave my love
To you
- Come on.
- Where you going?
We're going out front to applaud Mother.
Come on.
- I'm going to meet her.
- Not if you're going to Washington.
We've got to make the airport.
- He's right, Paul.
- You can meet her when you get back.
MAN:
I tell you, it's all over now.
Nothing can stand between us.
You can remain here with me.
Father's rehearsing.
Ruling without love is a lonely task.
If I lose you, I lose everything.
Oh, hello.
Papa, my darling,
you really should've played the part.
You'd have been great.
Perhaps if I were a few years younger.
- Were you out front tonight, Greg?
- Of course I was out front.
I must say, I think the leading man
might show a little more fire.
You've been saying that
the past two years.
Well, yes, I suppose I have.
I'll run along now.
Your guests must be arriving.
- I won't be long.
- I'll see you at the apartment.
- Right, right, Greg.
- So long.
- Where's Nancy?
- She went out to yak up the applause.
Arthur, can't we find her
a small part next season?
If Nancy's doing it,
it won't be a small part.
Oh, well, there must be something.
Maybe I'll look for a nice offstage cyclone
for her to do.
Did you get a chance to read
Domingos' new play?
[GASPS]
I loved it. Finished it last night
and couldn't sleep.
I kept thinking of that poor Emily.
It's a wonderful play.
And that scene
where she's going to have the baby.
I'll never let them take my baby from me.
Never, never, never.
I cried.
It's the best thing he's ever written.
You can tell him at the party tonight.
He's flying in from Brazil to talk to you.
- He is?
- Hi.
FRANCES: Hi.
- How's my favorite actress?
- How's my favorite daughter?
- Just fine.
My hands are sore
from applauding so long and hard.
- Gee, you were wonderful.
- Oh, thank you.
- Who's going to the party?
- Everybody.
- Good. I can attack them at once.
- Let me give you some advice.
- Never ask for a part in a play.
- No?
Let them think of it themselves,
then they'll try to sell you the idea.
- Oh, psychology, huh?
- Exactly.
- What happened to your leading man?
- He had to see about his car.
The motor dropped out.
May I bring him to the party tonight?
- With or without his motor?
- Oh, Mother.
- Of course you can.
- Thank you. I'll see you at the apartment.
I wanna talk about scenery
for our country playhouse.
- Yes, yes, yes.
- See you all later. Bye.
Bye.
Oh, dear, I wonder
if I was like that at her age.
No one was like that at her age.
[PIANO MUSIC PLAYS]
- Hello. Is Mother in yet?
- She's upstairs changing, Miss Nancy.
Oh, good. Here you are, Mary.
Oh, there's John Talbot.
- He's doing the new Hepburn show.
- Gosh.
There's William Grant.
He's with Rodgers and Hammerstein.
- Concentrate on the important ones.
- Well, how do I know which is which?
Well, some look important
and some look unimportant.
The ones who look unimportant
are the important ones.
- Oh. Well, what are we waiting for?
- Well, I've got to make an entrance.
All right. Walk in.
You don't just walk in.
You have to have people notice you.
Like this:
[LAUGHING]
[FRANCES LAUGHING]
Oh, really.
Well, Bess.
- You were divine tonight.
MAN: Magnificent performance.
- Thank you, Howard.
- Only good as opening night.
You should have brought a stairway.
- What are you going to do next?
- I haven't the faintest idea.
Well, Ray.
- Ray.
- Hello, Fran, darling.
- You're so interesting, Mr. Elliott.
- My dear girl.
- We expected to meet a much older man.
- You did?
Well, I went on the stage
when I was just a boy.
You were telling us
about voice placement.
Oh, was I? Well, it is very important
that the voice be placed properly.
But I think in your case,
it won't make any difference at all.
[ALL LAUGHING]
- Hello, Fran.
- Still coaching, Father?
GREG:
Oh, I'm just encouraging fresh talent.
- Frances. Excuse me.
- Yes?
- Domingos is here. In the study.
- Oh, wonderful. Excuse me.
Certainly.
- Here she is, Ricardo.
- Mr. Domingos.
- I'm so very happy to know you.
- I'm honored.
- Won't you sit down?
- Thank you. Pardon me.
- Did you have a pleasant trip?
- Yes, thank you.
I suppose all this
seems very different from Brazil.
Oh, no.
These kinds of parties are universal.
The labels on the bottles
may be a little different...
...but the labels on the people
are the same.
- I can't wait to visit Brazil.
RICARDO: Oh, I think you would like it.
I was telling Mr. Domingos
how much you liked his play.
Oh, I adored it.
I'm very pleased.
There are things in the second act
he'd like to explain.
- I'll just close the door.
- Fine.
Well, I tell you...
Oh, I have to find Arthur.
While I'm gone, you pick out
the biggest-looking idiot in the room.
- And go to work on him.
- Okay.
The biggest-looking idiot
in the room, huh?
The biggest-looking...
Of course, I drew the trusty steel,
pursued the villain.
He'd flown.
I returned my sword to its sheath...
...cloaked myself against the night air,
doffed my hat and took a bow.
My dear children, it was nothing, nothing.
Nothing at all.
- I'm going to Brazil for a rest.
- Oh?
I wanna take the script and learn it
among the people it's written about.
- Do you think it's a good idea?
- It's a great idea.
Yes, fine.
Now, I don't want this to get out
until we're ready to announce it.
No publicity, you understand?
Not a word to anyone yet.
Oh, all right.
And now I must see to my guests.
- See that Mr. Domingos has a drink?
- Thank you.
- I'll join you later.
- Thank you.
ARTHUR:
Well, Ricardo...
Is anything wrong?
- Well, I thought she was much younger.
- Well, she was.
- On the stage, she looks superb.
- Granted.
But the part of Emily was intended
for an 18-year-old to play.
ARTHUR: Frances is a great actress.
- Oh, there you are.
Arthur, I hope you're nice and relaxed
because I need a skyscraper.
Oh. So you need a skyscraper?
- We haven't a thing up there in the way...
- Just a minute.
This is Miss Elliot's daughter,
Nancy Barklay.
- How do you do?
- Glad to know you.
We have to have a skyscraper
for our second act.
I don't seem to have one on me.
You wouldn't settle for a small building?
You told me you had a storeroom
full of backdrops.
Oh, that kind of skyscraper.
Well, I think we can manage it.
- How you going to get it up?
- One of the boys has a truck.
When are you coming to Connecticut?
I'm afraid that's going to be impossible.
Impossible? But, Arthur, you promised.
You said you'd direct it.
I know I did,
but Mr. Domingos arrived in town and...
Oh, we were...
Oh!
- Are you the Ricardo Domingos?
- Yes.
Oh, I am glad to know you.
Would you write a play for me?
Well, I've already written a play.
Oh, you have?
Will there be a part in it for me?
The only small part
is a 60-year-old governess.
I could look 60 years old.
- Everyone says I'm older than I really am.
- No, no, no.
No? Well, I think you're making
a big mistake.
After all, a young governess
is much more interesting.
Well, come to think of it, there is the part
of an invalid's offstage cough.
Thank you, no.
- Are you in the professional theater too?
- Yes, I am.
Nancy's studying with a stock company
in the country.
- Stock company?
- Mm. They do plays in barns.
- Oh, yes.
- Yes.
We do plays in barns.
There are kids and grownups
working their hearts out year after year...
...putting on plays all over the country.
They don't need big,
elaborate theaters and stars.
All they need is a room,
a curtain and a few chairs.
Maybe it's in a church
or in a clubhouse or in a barn...
...but they're satisfied.
And do you know why?
Because it's the theater and it's theirs.
You're wrong, Arthur.
They're not just people
putting on plays in barns...
...they're the future of the theater,
tomorrow's Oliviers and Bernhardts.
They're offering their time
and their talent and their dreams.
All they ask is that someone see them
and hear them and give them a chance.
But instead of helping them,
you're too busy being successful.
Where is this company
the young lady was talking about?
In Connecticut.
How about going up there
and trying out the second act?
Not a bad idea.
Wonderful party, Fran, my girl.
- Had fun tonight, huh?
- Oh, yes, I...
- Where's the bicarb?
- The same place it always is.
I certainly need it.
[FRANCES & NANCY CHUCKLE]
Whenever he needs bicarbonate,
I know he's enjoying himself.
Thank you, darling.
Oh, men are so innocent.
They're just like children.
- Are you referring to your grandfather?
- Oh, no. I mean men.
Now, take Scotty, for instance.
You know, he's a year older than I am...
...yet when I'm with him,
I feel more like his mother.
Well, that must please him.
Oh, he doesn't know it.
I'm very sweet to him...
...but it frightens me a little.
I feel as though I've experienced everything
and there's nothing more to live for.
Isn't that a line from one of the plays
you did at school?
Oh. Uh.
Yes, so it is.
You see, I didn't even realize it.
I feel like I've lived all the parts
I've acted.
I've been a nun, I've been a drunkard.
I've played Portia, I've been in love.
I've been so many people...
...sometimes I wonder if the real me
can ever fall in love.
When you fall in love, darling,
you'll be just plain Nancy Barklay...
...and your only concern
will be to make your husband happy.
You loved Father very much,
didn't you, Mother?
Very much.
I wish he could have seen you, Nan.
He would've been so proud.
Thank you, Mother.
How old were you when you were married?
Your age. Just seventeen.
- I'll bet you were a mere child.
- I was not.
You know, I may never got married.
I feel like you do.
The theater's enough for any woman.
It's not much help
on a cold winter's night.
Father.
I do wish you'd come with us to Rio.
I think you're being headstrong
about staying here. Don't you?
Of course, she takes after her mother.
I wish I could, but I can't.
Arthur's coming up and Moss Hart's
starting his auditions for his new play.
All right, all right. We'll leave you here
to take care of the American theater.
[FRANCES CHUCKLES]
FRANCES:
Wasn't that a wonderful audience tonight?
- Yes.
- Funny how you remember closing nights.
I remember how thrilled I was
when I was a little girl...
...and Grandmother took me to Chicago
to see your grandfather.
That was a closing night too.
When the curtain came down,
the audience stood up and cheered.
Well, naturally, they loved me.
They wouldn't let you go.
Oh, say, I was quite a romantic fellow.
I'll bet you were, Grandfather.
The most romantic figure of your day.
And quite a stepper.
[PLAYING PIANO]
[SINGING]
January, February, June or July
Snow time ain't no time to stay
Outdoors and spoon
So shine on
Shine on, harvest moon
For me and my gal
- Shine on
- Shine on
- Shine on, harvest moon
- Shine on, harvest moon
- Up in the sky
- Up in the sky
- I ain't had no lovin ' since
- I ain't had no lovin ' since
January, February, June or July
- Snow time ain't no time to stay
- Snow time ain't no time to stay
- Outdoors and spoon
- Outdoors and spoon
- So shine on
- So shine on
- Shine on, harvest moon
- Shine on, harvest moon
- For me and my gal
- For me and my gal
ALL:
Shine on
Shine on, harvest moon
Keep on a shinin '
Till you give the clouds a silver linin '
I ain't had no lovin ' since
January, February
Any old time is the time to marry
Snow time ain't no time to
What is so rare as an evening in June
With a moon and a gal
You can cuddle and spoon
Shine on
Shine on, harvest moon
Shine on
Shine on, harvest moon
For me and my gal
[ALL LAUGHING]
- Why did you send for me?
- No, no, no, look.
Look, Scotty, you come in here like this:
One, two, three. One, two.
Why did you send for me?
- Now, have you got that?
- Yes, sir.
- All right, let's try it.
- Yes, sir.
One, two, three. One, two.
Why did you send for me?
Is that all right, sir?
Oh, great, great, great. Let's keep going.
Now, what's your first speech, Nancy?
Because I heard you were going away.
Blah, blah, blah. Nancy's dialogue.
Then you move here and say:
"There's nothing else I can do, Emily.
She needs me. " Got that?
- Sure, sir.
- All right, let's try it.
There's nothing else I can do, Emily.
She needs me.
- Does she love you as much...?
- Blah, blah, blah.
Now, skip down to the next scene
and pick it up at:
"It was never love, Emily. "
- Now I'm out here at that time?
- You're here now.
- It was never love, Emily.
- Please, please.
Don't attack that line so loud. Softer.
- You know?
- Right. I get you, yeah.
- All right.
- It was never love, Emily.
It was a clinical experiment.
Sterile emotions in an antiseptic vacuum.
What do you know of love?
- I'll tell you what I know of love. I...
ARTHUR: Emily's big speech.
Then your reaction and exit.
Now, have you got that?
But, Arthur, you don't even know
whether I know my lines or not.
- You haven't listened to one of my lines.
- Yes, yes. You were fine, dear.
That's all for today.
Everybody, dress rehearsal tomorrow night.
One, two, three. One, two.
Why did you send for me?
I heard you were going away.
There's nothing else I can do, Emily.
She needs me.
Does she love you as much as I do?
SCOTTY: These aren't things
that can be measured.
In the end, each of us must decide
what he thinks is right.
NANCY:
So you've decided to escape?
Goodbye, Emily.
He'll come back.
There's nothing to come back to.
- It's over.
- You'll find someone else.
Strange, isn't it?
Almost everything that's important
can be measured.
The wise man can measure
the lights years to a star...
...and tell you how many robins
make a summer.
But the really important things
they can't measure at all.
They can't measure a robin's song...
...or tell me why the moonlight
will make me weep.
[SINGING]
Magic is the moonlight
Silver stars above me
Send someone to love me
Show my heart the way
Somewhere in the moonlight
Surely I will meet him
With a smile I'll greet him
And I know he'll stay
Lost within the splendor
Of a kiss
So tender
We will then surrender
To a love divine
Then when love is over
I'll recall a June night
For magic was the moonlight
When the world was mine
Someday
I'll meet
My love
[AUDIENCE APPLAUDING]
Frances and I have been close friends
for 20 years.
Now, how am I going to tell her?
[KNOCKING ON DOOR]
- You sent for me?
- Come in, Nancy.
- Sit down.
- No, thanks, I'm not a bit tired.
- Did you like it?
- We have a little surprise for you.
- You're making the old governess younger?
- No.
- I'm the invalid's offstage cough?
- No, we want you to play the part of Emily.
Emily.
- Emily?
- Yes.
Jinkies. Maybe I better sit down.
Oh, gosh, thank you so much.
But I'm afraid I couldn't.
- Why not?
- Is there something else?
Oh, no, no, it isn't that.
- But, well, I'm not good enough.
- Nonsense.
A part as wonderful as this
would scare me to death.
The whole show would depend on me.
Didn't you tell us that you were
the future of the theater?
Oh, but I didn't mean me personally.
Now, Nancy,
I know this isn't going to be easy.
But if you'd go away and memorize
every word of the play...
...then we'll have three weeks
of private rehearsals...
...before the regular rehearsals.
We don't open till next fall,
so you'll have plenty of time.
- I don't know what to say.
- That's it. Don't say anything to anybody.
I don't want this to get out yet.
- Well, if you think I can.
- Good, good.
Congratulations.
Now, as far as anyone is concerned...
...you're only playing the part
of the governess.
- What did you say?
- The governess.
Remember, not a word about Emily.
No.
Well, I guess...
Thank you.
Thank you very much.
Hey, I've been looking all over for you.
Did you get it?
- What?
- The part of the governess.
Oh.
Oh, yes. Yes, I got it.
- Aw, gee, Nancy, that's wonderful.
- Oh, Scotty, I'm so frightened.
- Frightened?
- It's the part. It's...
We'll work on it together.
I'll cue your lines.
I have to go away.
I've got to live the part.
- Gee, it's only a governess, you...
- Yes, yes, I know, but I...
- Can't you live the part here?
- I need coaching.
- Well, what about Mister...?
- I'm going to the best coach in the world.
My mother.
Oh.
It won't be for long.
Yeah, but Brazil is so far away.
Not if two people love each other.
Oh, golly, do you...?
Do you mean it, Nancy?
Oh, gee.
Gosh.
You know, we're almost engaged.
- Hey.
- Let's not tell anyone about it yet, huh?
- Let's wait till I come back from Brazil.
- Okay.
Hey, kids. Nancy's going to Rio.
- She is?
- Hey!
BOB: Hey, Dick. Dick. Hey, Dick.
- What?
- Nancy's going to Rio.
- She is?
Hey, Nancy's going to Rio.
- Rio?
- Yeah.
Whoo-hoo!
[SINGING] Nancy's going to Rio
ABCDE-O
Nancy's going to Rio
Far across the sea-o
That's where she will be-o
Me, oh, my, oh, me-o
Nancy's going to Rio
- A ye, aye, aye
CHORUS: A ye, aye, aye
A ye, aye, aye
A ye, aye, aye
Now, if you go to Rio
Where does that leave me-o?
Far across the sea
Oh, me, oh, my, oh, me-o
CHORUS: A ye, aye, aye
A ye, aye, aye
A ye, aye, aye
A ye, aye, aye
If it strikes my fancy
A- sailin ' south goes Nancy
In my new sombrero
Headin ' for Janeiro
A ye, aye, aye
A ye, aye, aye
A ye, aye, aye
A ye, aye, aye
Hey! Nothing could be finer
Than to sail a liner
But if it's heavy sailin '
Just lean upon the railin '
A ye, aye, aye
A ye, aye, aye
A ye, aye, aye
A ye, aye, aye
Eatin ' a banana
Right off the plantation
I'll cement our Pan-American relations
A ye, aye, aye
A ye, aye, aye
A ye, aye, aye
A ye, aye, aye
It's awful far to Rio
A thousand miles by sea-o
You know I'm gonna miss her
Excuse me while I kiss her
A ye, aye, aye
A ye, aye, aye
Now they're going steady
Scotty's really ready
But how am I gonna take her
South of the equator
My friends, may I have the floor?
On behalf of you all I'm addressing
This bit of advice to our Nancy
Keep the Latins guessing
RUDY: A ye, aye, aye
CHORUS: A ye, aye, aye
RUDY: Bye-bye, bye-bye
CHORUS: Bye-bye, bye-bye
RUDY: A ye, aye
CHORUS: A ye, aye
RUDY: Bye-bye
CHORUS: Bye-bye
RUDY: Cae-cae
CHORUS: Cae-cae
RUDY: Cae-cae
CHORUS: Cae-cae
Cae-cae, cae-cae
Fare thee well, my friends, goodbye
Cae-cae, cae-cae
I'm so happy I could die
CHORUS: Cae-cae, cae-cae
Fare thee well, my friends, goodbye
Cae-cae, cae-cae
She's so happy she could die
Don't you worry, oh, my sweet
I'll be lonely while I'm there
I am yours unless I meet
A Brazilian millionaire
CHORUS:
Cae-cae, cae-cae
Bon voyage and fond adieu
- Bon nuit
- Au revoir
And a few alohas too
The sun is shining.
The sun is shining...
...as though the whole world
hadn't come to an end.
The sun is shining...
...as though the whole world
hadn't come to an end.
[MOUTHS]
The sun is shining.
The sun is shining...
...as though the whole world
hadn't come to an end.
Excuse me.
[WHISTLING]
[NANCY MOUTHING DIALOGUE]
Nice day, ain't it?
You're the quiet type, huh?
That's the type of gal
that appeals to me.
I got a table
for the entertainment tonight.
- How about you and me...?
- No, thank you.
Oh, come on, I've been watching you.
What you need is some fun.
Some dancing and things.
Excuse me. My wife doesn't dance.
- Your wife?
- That's right.
Sorry, sir, uh, ma'am.
Hope y'all ain't mad at me.
Just trying to be a little sociable-like.
Excuse me.
- Thank you very much.
- Not at all.
- My name is Paul Berten.
- How do you do? I'm Nancy Barklay.
Our friend was right about one thing,
this is a beautiful day.
The entertainment
should be very exciting tonight.
And an attractive young lady like yourself
should be having a good time.
Look, I don't mean to intrude...
...but if you're in any kind of trouble,
I may be able to help you.
Oh, no, thank you. I'm just fine.
I'm glad I'm going to have the baby.
There's a part of him
that will always be mine.
I'll never love anyone again. Never.
But it doesn't matter.
Nothing matters. Not now.
Oh, it doesn't matter.
He's run away with her,
but she can never hold him.
He's still my husband.
- Oh, purser.
- Yes, sir.
- Have you seen Miss Rodrigues?
- I believe she's rehearsing for the show.
[SINGING] I've been to Chicago
And I've been to Milwaukee
I've been to New Orleans
And I've been to Mississippi
I've been to Saint Louis...
Stop the music, boys. You play too fast.
- Okay, shall we try it again?
- Let's cook it again, huh?
PAUL:
Marina? Marina.
Oh, Paul. We cook it enough.
I see you tonight, huh?
- Bye.
- Bye.
The passengers are putting a show
and they asked me to do something.
That's fine.
I'd like you to do something for me.
- Is something wrong?
- Yes, I need your help.
- Any trouble with the husbands?
- A girl.
- A girl? You don't need my help.
- This is different. She's in trouble.
- She'd like someone to talk to.
- Why don't you talk to her?
Me? I can't.
[WHISPERS INDISTINCTLY]
Yeah, come on.
[KNOCKING ON DOOR]
- Miss Barklay?
- Yes.
I am Marina Souza Lopez
Castro Rodrigues.
- Well, how do you do?
- How do you do?
- Won't you come in?
- Thank you.
Please, sit down.
- I've come, like you say, Jack Alden?
- Jack Alden?
- You mean John Alden.
- That's the fellow.
- I have a message for you.
- For me?
Oh, please, don't do that.
I'll do it.
Yes. A very charming man
wants you to have dinner with him.
Well, that's very nice,
but I'm afraid it's impossible.
Impossible?
That a charming young man
wants to have dinner with you?
You should not think like that.
You are on your way to Brazil,
and in Brazil, we have fun.
I'm going down to do some work.
But you must not disappoint Paul Berten.
- Oh, did he send you?
- Yes.
He could have any girls he wants,
but he wants you.
But I hardly spoke to him.
And Mr. Berten is a very romantic man.
And he likes you very much.
In fact, he told me to tell you
that it's very easy for a man to love you.
And he'll be very unhappy
if you do not come.
But I scarcely know him.
- Is he a friend of yours?
- No, he's my partner.
He won me on a craps game.
- What?
- I mean, his father won my father.
- Why, that's slavery.
- No, it's coffee.
You see, Paul's father
shoot craps with my father.
You know, those white little things.
Snakes' eyes, you know?
So Paul's father and my father,
they are partners.
So now Paul and I are partners.
- I see now.
- Good. Then is all settled, huh?
- Oh, well, I...
- Oh, you'll like Paul. He's a very nice man.
- Oh, all right.
- Fine.
Then I see you at the dining room
tonight at 8.
I'll be there.
[BOTH SPEAK IN PORTUGUESE]
Hey, hey, hey, easy.
- You are a doctor, no?
- Yes.
- Do you know Nancy Barklay?
- I don't believe I do.
You are going to.
I'm going to give some advice.
[WHISPERS INDISTINCTLY]
- Good evening.
- Good evening.
- I'm glad you came.
- Thank you for inviting me.
- We're right over here at the captain's table.
- All right.
I'd like to present Miss Barklay.
Captain Ritchie, Mrs. Warren,
Mr. and Mrs. Harrison...
...Mr. and Mrs. Black and Dr. Ballard.
- How do you do?
- How do you do?
- And Marina you know, of course.
- Yes. Hello.
MARINA: How are you?
- I've been looking forward to meeting you.
Well, thank you.
- You're looking very well.
- I'm feeling very well, thank you.
Good.
Try one of these, my dear.
They're for nausea.
Oh, I never get seasick.
[ALL LAUGHING]
- Did I say something funny?
- We're all your friends. And this one.
- Are we heading into a storm?
- That is a calcium pill. Builds your bones.
- Well, my bones are built.
- Of course they are.
But everyone
on an ocean voyage takes calcium.
Keeps you from developing scurvy.
Take one for me.
Well, guess I don't want scurvy.
PAUL: Is this your first ocean trip?
- Oh, yes, it is.
- How old are you, my dear?
NANCY: Seventeen.
Oh.
Cereal? Well, if you don't mind,
I think I'd rather have scurvy.
That is very good for you. Eat it. All of it.
MRS. HARRISON:
Yes, my dear. It's very good for you.
- Is this your first trip down here?
- Mm-hm.
- You'll love Rio.
- I hope I get a chance to see it.
Afraid I won't be able
to get around very much.
Yes, it's better to rest.
Tell me, why did you decide
to go to Brazil?
Oh, well, my mother's down there and...
Well, something happened to me
and I need her.
Oh, yes, of course.
- May I have this dance?
- Yes, you may. You don't mind?
Why, not at all.
Only Marina is going to sing for us now.
- Now?
- Now.
Okay. Now.
[SINGING]
I've been to Chicago and I like Chicago
I've been to New Orleans
And I like New Orleans
I've been to New Hampshire
And I like New Hampshire
- I like north, east, south, west
CHORUS: North, east, south, west
But the place I like most is the best
CHORUS:
The place she likes most is the best
The west
Ride along, singing a song
Get along, little hot doggie.
- Get along.
- Water.
I wanna go to a big empty space
Where the cows and the cantaloupes play
Wanna be a cowboy gal
Wanna sit in my corral
And hipsee-i-o and kiay
She wanna hip-ee-i-o and kiay
I wanna horse
With some good-looking chaps
I wanna chew up the dust like they say
Gonna put me on some boots
Gonna root me on some toots
Hipsee-i-o and kiay
When I'm hipsee-i-o kiaying
I'll put Annie Oakel to a shame
Don't know who she is
Or what I'm saying
But I have lots of fun just the same
I wanna go
Where they don't have no fence
When I go let me go thataway
And my day will be full
When I throw a little bull
And hipsee-i-o and I'll hipsee-i-o
And I'll hipsee-i-o and kiay
[SINGING IN PORTUGUESE]
Hey, lady. Get back to the west.
When I'm settle in the cactus
Yar!
You just reckon what I say
Don't go away.
But 10-gallon hat is too expensive
And a 2-gallon hat is okay
And that ain't hay.
Now take me out to a big empty space
Where the cows and the cantaloupes play
And my day will be full
When I throw a little bull
And hipsee-i-o and kiay
Give me my rusty. 44
Forty-five.
Give me a cow that I can punch
Cow-puncher.
Give me some buttons, some booze
No booze.
And I bet you that I reckon that I'll stay
I'm gonna be a cowboy girl
Gonna sit in my corral
- And hipsee-i-o
- And she'll hipsee-i-o
And I'll hipsee-i-o and kiay
- Get along
- Get along
- Get along
- Get along, got along, got along
- Whoop!
- Yabby!
[AUDIENCE APPLAUDING]
MAN:
Bravo, bravo.
- I'm afraid I'm gonna have to be going.
- I'll see you to your cabin.
- Now, you go right to bed, young lady.
MRS. HARRISON: Yes, get plenty of sleep.
MRS. WARREN: Good night, my dear.
- Good night.
- Good night.
- Night.
Excuse me.
It's so peaceful here,
it makes you forget your troubles.
Guess it does.
Nancy, it may be hard
to understand now...
...but believe me, time heals everything.
You know, sometimes
a person gets in trouble...
...and things look pretty hopeless.
You mustn't worry about it.
I'm sure everything will be all right.
That's it. Everything will be all right.
MASHER:
Well, well, well.
It sure is a small world, isn't it?
I see you changed your mind
about dinner.
Why don't you go scrub
a deck someplace?
Oh, I forgot. She's your wife, isn't she?
Well, I found out different.
- And that isn't all I found out.
- Come on.
Look here. Let me talk to the lady now.
Don't get me mad, man. Don't get me mad.
[THUDDING]
Thank you and good night.
Oh, Paul. Are you hurt?
It's funny how much better
the stars look from down here.
Poor man.
And you did it all because of me.
I needed a rest. It was nothing.
- Are you sure you're all right?
- Fine.
He double-crossed me,
hit me when I was looking.
You were so wonderful. I'm terribly sorry.
- That's all right. Let's forget it.
- No, no, no, you must rest.
Thank you.
Nancy, before we were interrupted,
I was about to say something.
I do hope you won't misunderstand me.
This isn't very easy for me.
Nancy, sometimes you meet
the wrong person.
You have an experience
that leaves you bitter.
Yes.
Well, if you'll allow it to,
it can ruin your whole life.
I suppose it can.
You get to the point where you think
you'll never love again...
...and no one will ever love you.
But then you meet someone...
...and you realize how wrong you are.
How wrong you are,
and life is still ahead of you.
I think I know what you're trying to say.
Nancy, the companionship
of someone who loves you...
...is the most important thing
in the world.
And any decent man loves children.
- You mustn't say any more.
- But you should know that...
Oh, you're very sweet,
but I'm in no position to listen.
I know. That's why I...
I'm terribly touched
and I'll always remember this moment.
No. No, don't move.
I want to remember you just as you are.
What happened?
I'm not sure, but I think she just imagined
a proposal out of me.
She did?
Not only that, she turned me down.
[KNOCKING ON DOOR]
- Come in.
- Well, we'll be landing shortly.
- You're all set, I see.
- Almost.
- And good luck to you, my dear.
- Thank you.
Oh, and you'll find that the doctors in Rio
are excellent.
- So nice to... Excuse me.
- Hello, doctor.
- I just had to say goodbye to you.
- Thank you so much.
- Is your mother meeting you?
- No, I'm surprising her.
- Oh, dear. It's going to be quite a surprise.
- Uh-huh.
- Here's a little gift for you.
- Well, my goodness. Thank you.
Not at all. You'll be able to use it.
- Goodbye.
- Goodbye.
- Sorry.
- Nancy, dear.
- Oh, Marina.
- I come to say goodbye.
We leave the States,
boom, zoom, we get here so quick.
Oh, you've been so sweet.
Thank you very much.
- Is there anything I can do?
- Nothing. Everything is just fine.
You're a very sweet little girl.
And take care of yourself, will you?
- Goodbye, Nancy.
- Goodbye, Marina.
- I see you in Rio.
- All right.
- Hello, Nancy.
- Oh, hello, Paul.
I thought you might need some help.
That's very nice of you, but I have
more help than I know what to do with.
I never met such friendly people.
You've been so sweet.
I do hope what happened the other night
didn't upset you too much.
No. Well, I just wanted
to say goodbye and...
- Goodbye, Paul.
- Goodbye.
If you should change your mind and do
wanna see me, you can find me here.
- Well, thank you. I'll remember.
- Goodbye.
[HORN BLOWS]
Wait, please. I'm Miss Nancy Barklay.
Are my mother and grandfather at home?
- Oh, yes, miss. I will announce you.
- Oh! I'd rather...
I'd rather surprise them.
There's some luggage in the car.
- Grandfather.
- Hello, Nan.
Aren't you glad...?
- Father, I was just going to...
- Mother.
Hello, dear.
Would you like fish for lunch
or chops?
Let's have chops.
No, no, no, it's too hot for chops.
Let's have something nice and cool
like chili peppers.
I don't know. How about
ice cream and cucumbers?
No, no, no.
I think some lemonade,
baked beans and sauerkraut, eh?
[GREG CHUCKLING]
Oh, you two.
- Oh, Mother.
- Hi, baby. How are you?
- Hi, Grandfather.
- Bless you, baby. It's good to see you.
You knew I was coming.
It was supposed to be a surprise.
How did you find out?
When I tried to call you,
they told me you were on your way here.
That's why we didn't meet the boat.
Mother didn't wanna spoil your surprise.
- Mother. Oh, goodness.
- Tell us about your trip.
- Yes, come on. Tell us.
- There were so many things.
It was simply heavenly.
But the most exciting thing of all...
...I met the most wonderful man
and he proposed to me.
- Proposed to you?
- Oh, yes, Mother. He was a darling.
- But of course I had to say no.
FRANCES: Well, I should hope so.
And I had dinner at the captain's table.
And, oh, wait.
I have the lead in the most terrific new play.
I'm just too happy.
You sound like you've been
a very busy little girl.
I have. I can't wait
till I tell you about my new play.
- It starts out where...
- Wait a minute. Simmer down.
Let's get our coat off first, huh?
You can tell me about everything at lunch.
Alfredo, will you show Miss Nancy
to her room? Here you are.
Wait right there.
I'll be down in a jiffy.
- I have to tell you all about it.
- All right, fine.
- Isn't she wonderful?
- Naturally.
Consider her predecessor.
And in all the years I've had her,
she's never caused me a bit of trouble.
- Help me with the second act, will you?
- Certainly.
- Page 63.
- All right.
FRANCES:
Let's go over that scene again.
GREG:
The sun is shining...
The sun is shining as though
the whole world hadn't come to an end.
I'm glad I'm going to have the baby.
No matter what happens...
GREG:
There's a part of him...
FRANCES: There's a part of him
that will always be mine...
...and I need never be ashamed
because he's a part of our love.
That's no good.
And I need never be ashamed
because he's a part of our love.
Well, hello, darling.
All fresh and ready for Rio?
Yes, Mother.
- What were you rehearsing?
- The new play I'm going to do for Arthur.
Ricardo Domingos wrote it.
- It's simply wonderful, isn't it, Father?
- I tell you.
Exactly what I've always been looking for.
You want some lemonade, darling?
- Oh, no, thank you, Mother.
- Father?
Oh, just a little.
- Now, we wanna hear all about your play.
- Oh, yes.
- It's just a play.
- Just a play?
Tell us about it.
Who's going to produce it? Who wrote it?
You wouldn't have heard of the producer.
He has never done anything before.
- Well, who's the author?
- Isn't that silly?
I can't remember his name, either.
He's new too.
Well, is it a good play?
Oh, it's wonderful. It's a comedy.
It's laid in the South Sea Islands.
Well, that sounds interesting.
What's the story?
Well, it's the story about a girl...
- Me.
- Well, it is?
And, well...
- ... this girl is dying of a rare disease.
- Cigarette.
And she goes to South Sea Islands
for her health.
No, no. Hold on a minute.
You say this is a comedy?
It doesn't start out very funny,
but later on, it really is a scream.
Well, she goes to the South Seas...
Yes. Well, there's a doctor down there...
...and he's doing research
on tropical diseases.
And he meets this girl, me.
And he falls in love with me
and I fall in love with him...
...and we fall in love with each other.
Of course, I can't marry him
because he doesn't know I'm gonna die.
Are you sure this is funny?
It doesn't sound very funny
when you tell it...
...but, oh, the dialogue's
simply magnificent.
And, well,
there's a great part in it for me.
I fall in love
and I have a nervous breakdown...
...and men commit suicide over me
and, oh, just everything.
- Oh, you'll love it.
- Well, I...
- Well, we we'd like to read it, darling.
- I'd like to read that.
I'll get a copy of the play.
Excuse me, madam,
Professor Gama is here.
[SPEAKS IN ITALIAN]
- How are you?
- Maestro, good morning.
- Hi, professor.
- Nancy?
This is my daughter, Nancy.
Professor Gama.
How do you do?
[SPEAKS IN ITALIAN]
- Beautiful young lady.
- Yes, isn't she?
- Shall we try our music now?
- Fine.
We're going over one of the songs,
the duet.
- Why don't you sing it with me?
- Oh, Mother, I really...
Oh, come on, it isn't difficult.
Professor, Nancy's gonna sing
the song with us.
Oh, that's fine. This is fine.
Now, darling, you stand over here
so you can see the music.
- All right?
- All right.
[SINGING]
Magic is the moonlight
Silver stars above me
Send someone to love me
Show my heart the way
Somewhere in the moonlight
Surely I will meet him
With a smile I'll greet him
- And I know he'll stay
- And I know he'll stay
- Lost within the splendor
- Lost within the splendor
- Of a kiss
- Of a kiss
- So tender
- So tender
- We will then
- We will then
- Surrender
- Surrender
- To a love divine
- To a love divine
Then when love is over
I'll recall a June night
- For magic was the moonlight
- For magic was the moonlight
- When the world was mine
- When the world was mine
- When the world was mine
- When the world was mine
GAMA: Bravo, bravo.
FRANCES: Darling.
What's the matter?
Mother, do you mind
if I don't have lunch with you?
I had an awfully big breakfast
on the boat.
But, darling, what is it?
- Well, what's the matter with her?
- Well, I guess she's just tired from the trip.
Hello?
Hello, I'd like to send a cable.
Thank you.
Hello?
Hello, I'd like to send a cable.
It's going to Mr. Arthur Barrett...
...Park Arms Hotel,
New York City, U.S.A.
Sorry, unable to do play.
Have decided to...
Have de...
Have decided to get married.
I'd like to see Mr. Paul Berten, please.
He's in conference.
- Do you have an appointment?
- No, but I'm sure he'll want to see me.
- Why don't you drop him a note?
- Drop him a note about this?
Oh, I couldn't.
[BUZZES]
I'm sorry.
Part of the order
about the 15th of next month.
The balance will be delivered
as requested.
MARINA [ON RECORDING]:
We appreciate your business.
You can expect the first part of the order
about the 15th of next month.
The balance will be delivered
as requested.
- This machine, we must send it back.
- What's the matter with it?
It has a Brazilian accent.
- Marina.
- Oh, Nancy.
Shoo, shoo.
- What are you doing here?
- I just have to see Paul.
- But he's very busy now.
- But it's terribly important.
- I have problems at home.
- Did you talk to your mama?
Yes, but she's so sweet and wonderful,
if I told her, it would just kill her.
Oh, it would, huh? Well, you wait here.
Just a second.
PAUL: You can see that the fluctuation
of the economic pattern...
...is much more irregular in the...
[SPEAKS IN PORTUGUESE]
Paul.
Huh?
If you'll excuse me a moment, gentlemen,
some urgent business has come up.
I'll be right back. Marina, would you...?
[SPEAKS IN PORTUGUESE]
Nancy.
Well, this is a surprise.
I had to come.
You were the only one I could turn to.
What's this Marina tells me
about your having a problem?
Oh, let's not talk about that now.
You've been so wonderful.
I'm sorry I took what you said
so lightly on the boat.
- No, no, no.
- But I'll make up for it.
No. I mean, there's nothing to make up.
But there is.
You were so right about marriage.
- I was?
- Yes.
I'm gonna forget everything
that happened in the past and start all over.
- I've decided to dedicate my life to ma...
- Nancy.
- Does your mother know about this?
- Not yet.
Then why do you bother to tell me?
Well, I had to come to you.
You're so wise.
It's nothing.
Don't you believe
people are destined for each other?
I haven't given it much thought.
Look, Nancy, our souls
may be very chummy...
...but we hardly know one another.
Well, I was born in New York and I'm 19.
- I thought you said you were 17.
- I'm getting older as fast as I can.
- Oh, I see.
- I got good marks school. I love children.
- And I can cook.
- Nancy...
Nancy, you're a nice, sweet child...
...but, well,
I'm old enough to be your uncle.
Oh, Paul, you haven't changed your mind
about marrying me, have you?
But you've already got a husband.
Oh, you foolish darling.
So that's what
you've been worried about.
- I'm not married.
- Not married?
- What did you say?
- Oh, well, I haven't got a husband.
- That's why I came here.
- Nancy, Nancy.
My advice to you is to go home.
Talk this whole thing over with your mother.
- Oh, I couldn't. It would hurt her so.
- Well, give me time to think.
Meanwhile, you run along
and take good care of yourself.
- I will see you soon, won't I, Paul?
- Sure, I'll keep in touch.
- Oh, you don't have my address.
- Your address. Yes, okay. Address.
Well, here, you just write it
right down here for me.
Thank you.
- You be sure and not lose this.
- Yes, yes... I mean, no, no.
- There you are.
- I'll take good care of this.
It was nice of you to drop in, Nancy.
Goodbye.
- Bye.
- It's been nice. Goodbye.
- Where is Nancy?
- She's gone home.
- And you let her go by herself?
- She got here by herself, didn't she?
And for your information,
she is not married.
- Not married?
- No.
That poor child. That's terrible.
We must do something.
I can't, that's a job for her mother.
But she's afraid to tell her mother.
- Afraid to tell her mother?
- Yeah.
But I'm not afraid to tell her mother.
[SPEAKS IN PORTUGUESE]
Where are you going?
- To have a talk with Nancy's mama.
- Good.
- Her address.
- Give it to me.
Hello?
Hello?
- Hello?
- I beg your par...
- Oh, hello.
- Aha.
- You are the one.
- I am?
I want to talk to you about your daughter.
You should never let her go out alone.
- Frances?
- No, Nancy.
Aren't you Nancy's papa?
Oh, no, no, no. I'm Nancy's grandpapa.
Such a young-looking man.
Please.
Father, I won...
Oh, this is... Uh...
- Are you Nancy's mama?
- Yes.
- I am Marina Lopez Souza Rodrigues.
- How do you do?
I do not do so good. We must talk.
Well, won't you sit down?
Arthur.
- I have just talked to Nancy.
- Oh, is she home?
Oh, yes, yes.
She just went up to her room.
- You not throw her out, huh?
- Throw her out?
You have a wonderful daughter.
She's very brave.
And I was afraid she might try
to have the baby without telling you.
That's ridiculous. Of course
she wouldn't have the baby...
- Have the what?
- The baby.
For a moment, I thought she meant...
My daughter's name is Nancy Barklay.
I'm sure there's been some mistake.
This I know, that's why I'm here.
Who told you Nancy
was going to have a baby?
- Nancy.
- But that's impossible.
No one told her it's impossible,
so she's gonna have the baby.
I know there's been a mistake.
Excuse me, I'll go talk to Nancy.
[KNOCKING ON DOOR]
Come in.
- Well, still unpacking?
- Yes, Mother.
- I'll help you.
- All right.
Where were you this afternoon?
Oh, I had to go see a friend of mine.
- You had us very worried.
- Oh, I'm sorry.
Nancy, I wanna talk to you.
- All right, Mother. Is there anything wrong?
- Well, that's what I wanted to ask you.
No. Everything's just fine.
Darling...
...we've always been very close,
you and I.
More like sisters
than mother and daughter.
- Yes, Mother, I know.
- And you've always told me everything.
That's the basis for any honest relationship
between two people who love each other.
Yes, Mother. I know, only...
Only what?
Well...
There's some things
you can't tell anyone.
I'd do anything in the world
not to hurt you, Mother...
...but sometimes things happen that,
well, you have no control over them.
Oh, aren't they cute?
- Oh, Nancy.
- I wonder why...?
Mother, is there anything wrong?
Maybe you'd better lie down.
No, no, I'm quite all right.
- Maybe it's just the heat.
- Yes, it's just the heat.
No.
Let me do it.
Nancy...
...we're going to have a nice long talk
about what's bothering you.
I can't talk about it, Mother.
It's too late to do anything about it,
anyway.
Oh, my poor baby.
- This boy you were telling me about...
- He's not a boy, he's a man.
A man? Well, how old is he?
Oh, I guess he's about 40.
- Forty?
- Oh, but he's a young 40.
He's tall, good-looking, charming.
A sophisticated man of the world.
And you say he proposed to you?
Yes, but he wants to wait
until I'm a little bit older.
I think I'm gonna be ill.
NANCY: Is there anything I can do?
- I think you've done quite enough.
What's the name
of this man of the world?
Berten. Paul Berten.
- He's the head of a big coffee firm.
- Berten.
I want you to lie down and rest
this afternoon. I'll send a tray of food up.
Is there anything special you'd like?
No, thank you, Mother.
[PHONE RINGING]
PAUL:
All right, all right. I'm coming.
Take it easy.
- Hello?
FRANCES: Mr. Paul Berten?
- Yes?
- This is Nancy's mother.
- Whose mother?
- Nancy's. Nancy Barklay's.
You remember her, don't you?
Oh, that Nancy. How's she feeling?
Fine, no thanks to you.
I'm very fond of Nancy.
He says he's very fond of Nancy.
- Look here, I'd better talk to him...
- No.
Mr. Berten, it's imperative
that I see you tonight.
Well, that's very nice,
but I have a sort of an engagement.
Well, if you'll forgive my saying so,
I think Nancy's welfare's more important.
I'm trying to be as calm
and as civilized about this as I can.
Naturally.
It would help if we could get together
and talk this over.
Well, hell, I...
I don't know very much
about these things.
- But if I can be of any help...
- Well, you certainly could.
Well, I have a table at the Samba Club.
How about meeting me there?
Say, 8:00?
- The Samba Club?
- Yeah.
Fine, I'll be there.
He sounded
as if he were doing me a favor.
- Don't you want me to go with you?
- I prefer to handle this alone.
- You don't really know him.
- We'll all have years to get acquainted.
- At least he wants to marry her.
- Look here.
If he seems a decent sort,
if he isn't a criminal or insane...
...or something, it's all we can do.
- Look here...
- I'm putting in a call to Arthur.
- What's he got to do with it?
- I can't leave Nancy now.
Not when she needs me.
I'm not going to do the show.
I wish I could get my hands
on this Berten fella.
Careful, Pappy.
You're talking about your future grandson.
George, I've got a problem.
A lady's joining me.
No. She's the mother of a friend of mine.
I've never met her,
but I want you to break it up...
...as soon as possible after she gets here.
I understand.
- You leave everything to me, huh?
- Good boy.
- Good evening, madam. May I help you?
- I was to meet a Mr. Paul Berten here.
- Madam?
- Mr. Berten's table.
Mr. Berten.
- Mr. Berten?
- Yes.
Right this way, please.
- Mr. Berten, your guest is here.
- Oh, yes. Excuse me.
How do you do? I'm...
Why, you... You're Frances Elliott.
- Yes.
- Well...
- Won't you sit down, please?
- Madam.
This is a surprise.
I was expecting Nancy's mother.
In my spare time,
I'm also Nancy's mother.
- You? You're...?
- Yes.
- But I thought her name was Barklay.
- That was her father's name.
This is wonderful.
- May I order something for you?
- If you like.
- Two champagne cocktails, George.
- Two champagne cocktails.
And an occasion like this calls for caviar.
- Some caviar too.
- Some caviar.
I thought you said pea soup
and hamburger steak.
No. Caviar and a bottle of champagne.
You know my favorite brand, George.
Very well, sir.
I can't tell you how anxious
I've been to meet you.
- I'm a great fan of yours, you know.
- Mr. Berten.
- I came here to discuss my daughter.
- If I'd known you were Nancy's mother...
...I'd have paid a lot more attention
to her.
Would you?
Nancy's just a child, you know.
She's only 17.
Seventeen? She told me she was 19.
And I suppose
that made everything all right?
Well, I shouldn't be too hard on her.
It's easy for a girl her age
to get carried away.
Are you implying
this is all Nancy's fault?
We should give her
the benefit of the doubt.
Well, that's very generous of you.
- Tell me, is this your first trip down here?
- Yes.
Good. You've got to let me show you Rio.
It's the most wonderful city
in the entire world.
- We were discussing Nancy.
- Oh, yes.
Mr. Berten, I would like
to come right to the point.
Nancy's told me a little about you,
but I'd like to know a great deal more.
That's a wonderful idea.
I would like to know something
about your background, your family.
Well, there isn't much to tell, really.
I have the usual number of parents.
Then I suppose you're well qualified
to take care of a wife and child?
To tell the truth,
I haven't given it much thought lately.
Well, don't you think
it's about time you did?
You know, I've never met anyone
quite like you.
You're so frank.
Well, I see no reason why two people
can't be adult about things.
You're absolutely right.
I can't wait to show you around.
There's a place called Little Paquet Island.
In the moonlight...
The hospital just phoned.
They want you right away.
Your friend, Mr. Rogers,
has been in a terrible accident.
- He has a broken neck.
- Oh, how awful.
Tell him to forget it.
I mean, it's probably
not a very serious broken neck.
Thank you, George.
FRANCES: Aren't you going to him?
- Believe me, it's nothing.
He's always breaking his neck.
Now, where were we?
We were discussing Nancy.
Oh, yes. You know that Nancy has
the most wonderful mother in the world?
Mr. Berten.
I'll never stop being grateful to her
for bringing us together.
- Do you know what you're saying?
- If it hadn't been for Nancy...
...we might never have met.
Let's drink a toast.
To the three of us,
happy times ahead.
Happy times ahe...? Well, I've never...
Really, I've never...
Mr. Berten, come quickly.
Your house is burning.
- Thank you, George.
- Hadn't you better go?
- It's a very small house.
- But it's burning big.
I'm sorry about all this.
Excuse me just a minute.
- The house was an inspiration, no?
- No.
- No?
- No.
Here. Maybe this will put out the fire.
Now, George, please,
no more interruptions.
- I wanna be alone.
- I think you have got your wish.
[TAPPING]
Father? Father?
Father, what on earth are you doing?
I was just getting in some practice
in case I run into that Berten fella.
- That will be all, Alfredo.
- If you pardon the expression, sir...
- ... you are a sucker for a right cross.
- Oh, really? Well, I...
Well, good night.
You'd better get to bed.
Thank you, sir. Good night, madam.
- Good night, Alfredo.
- Good night.
- Aren't you being a little melodramatic?
- Well, I'm not taking any chances. I...
- Well, how'd it go?
- We didn't settle anything.
You were right,
you should've come with me.
- What's this fella like?
- He's wonderful.
- What?
- I mean, he's terrible.
Dangerously attractive and full of charm.
No wonder the child lost her head,
any woman could fall in love with him.
- You don't say?
- Yes. How is Nancy feeling?
Oh, under the circumstances,
she's feeling fine.
It's very strange.
I never would've thought
he was the kind of...
I guess I don't know very much
about men.
Well, it's never too late to learn,
I always say.
- Good night, darling.
- Good night.
You better wait.
- Good morning, sir.
- Good morning.
- Is Miss Elliott in?
ALFREDO: I'll see, sir.
- The name, please?
PAUL: Berten. Paul Berten.
Mr. Berten is here, sir.
You don't know me,
but my name is Paul...
- Bravo, sir. Very good.
- Grandfather.
Oh, Paul, are you all right?
- Yeah, fine.
- How could you?
- Who is that?
- My grandfather.
Should they be letting him
run around loose?
You have no right to do this.
I'm not a child anymore.
- She's not a child anymore.
- I'm a grown-up woman.
- She's a grown-up woman.
- I have the right to choose my own man.
- Does it hurt very much?
- No, it's...
Oh, my poor darling.
I'll get my first-aid kit.
Don't you dare touch him
till I come back.
A little higher with the left, sir.
- I place these in a vase, sir.
- Thank you.
Sit down, son.
You and I better have a little talk.
Say, tell me something, will you?
Is there any insanity in this family?
No, not that I know of.
- Any in yours?
- I'm not so sure anymore.
Up until last week,
I was a peaceful, happy citizen.
Then I met Nancy and I seem
to have become a punching bag.
- Now, I haven't the vaguest notion why.
- You met Nancy when?
Last week, on the boat.
- It's a very strange thing, but...
- Wait minute. Now, she...
- You never knew her before?
- Who?
- Nancy.
- Of course not.
What are you driving at?
- Wait, you don't think that I'm the one...
- Well, now, I...
- She seems very anxious to marry you.
- Oh, no.
Look here, when did she tell you
that she was going to have a...?
Well, she didn't exactly tell me.
She was talking to herself
on the boat deck.
What did she say?
Something about a guy
running away...
...but she was going to have the baby.
Now wait a minute.
"And she was never going to love again. "
- But it didn't matter.
- "And life was over. "
- Say, how do you know?
- Well, look, look.
"He's run away with her.
She can never hold him.
I'm glad I'm going to have the baby. "
And you thought that...?
Sorry, but we all thought...
That's why her mother wanted to see me.
No wonder she ran out on me.
Will you excuse me?
There's another mystery I got to solve.
- About Frances?
- Yes... No, around here, it's Nancy, 2-to-1.
Here, boy, have a cigar.
No, no, here, here, have two cigars.
[KNOCKING ON DOOR]
Come in.
- Oh, hello, Father.
- Hello, dear.
- Paul's here.
- Oh, really?
I don't think I can face him.
You talk to him, Father.
Well, as matter of fact,
we did have quite a chat.
- He's a wonderful fella, all right.
- He's a what?
Oh, I guess you were right about him.
He... Any girl would be lucky to get him.
- Father, after what he's done?
- What he's done?
- He's behaved like a gentlemen.
- Gentleman?
While the rest of us have been
making idiots of ourselves.
- What are you talking about?
- I'll tell you what I'm talking about.
- Paul just met Nancy last week.
- What?
- And she's not having the baby.
- But Nancy practically admitted it.
She admitted nothing of the kind.
What happened was Paul heard her
rehearsing some lines from the play.
The play she came down here to rehearse.
The one about the South Sea Islands.
The situation in that play
is like the situation in yours.
She's having a baby.
She and this fella
are captured by headhunters...
...and they're all going to be boiled in oil.
Oh, darling, I should be boiled in oil.
You know, I feel like getting boiled myself.
Come on, let's go downstairs.
NANCY [SINGING]:
Embrace me
My sweet embraceable you
Embrace me
You irreplaceable you
Just one look at you
My heart grew tipsy in me
You and you alone
Bring out the Gypsy in me
I love all
The many charms
About you
Above all
I want my arms
About you
Don't be a naughty baby
Come to mama
Come to mama
My sweet
Embraceable
You
My sweet
Embraceable
You
- That's fine.
- Oh, thank you.
- Hello.
- Hello, Mr. Berten.
- It's nice to see you again.
- It's nice to see you again.
- Do you still wanna see Rio?
- I'm dying to.
I can be ready in a minute.
And Paul's such a wonderful guide.
No one can show you Rio
the way he can.
Well, perhaps I'd better not go.
Oh, please come.
I want you to start getting used to him.
- She won't be in the way, will she, Paul?
- No. No.
- All right, I'll go.
- Good, we'll all go.
- Fine.
- Come on, darling. We'll get ready.
- Do you like him?
- Oh, very much.
He'll make you a wonderful son-in-law.
Look, we're almost
at the top of the mountain.
Oh, gosh.
Oh, Paul.
I wonder what they're laughing about.
Oh, Paul.
- I wonder what they're laughing about.
- I don't know.
FRANCES:
It's been a wonderful week, hasn't it?
NANCY: Dreamy.
- I think I'll get some bicarbonate.
Had fun tonight, huh, Father?
Say, that Rio mule's got a kick in it.
- Wasn't it a heavenly evening?
- Yes, dear.
- Doesn't he dance divinely?
- Yes, dear.
Mother, wouldn't Rio be
a very romantic place for a honeymoon?
Yes, I think it would be wonderful.
Whose honeymoon?
Paul's and mine.
Nancy, you're not serious
about marrying Paul.
Why, certainly I am.
He's serious. He proposed to me.
But it's ridiculous.
That a man would propose to me?
Oh, Mother, you're old-fashioned.
You don't seem to realize it,
but I've grown up.
Really?
Well, according to our modern calendars,
young lady, you are still 17 years old.
Well, I'm not really 17.
You know I've always been older.
Paul Berten
is much too old for you, Nancy.
He doesn't think so.
What about Scotty?
Oh, Scotty's a sweet boy,
but he could be my son.
Well, maybe you and Paul
could adopt him.
I know Paul and I
will be very happy, Mother.
We love each other so much.
Oh, it's different with you.
You're married to the theater
and don't need anything else.
- But I am not married...
- Don't worry, darling.
Paul knows what he's doing.
I'll let you know
as soon as we make our wedding plans.
Thank you.
- Good night, Mother.
- Good night, Nancy.
- Good morning, sir.
- Good morning.
- Hello there.
- Oh, hello.
I was just having a look at the view.
Hey, these new bathing suits,
they're quite...
Yes, sir. Yes.
Alfredo, would you take these
to Miss Elliott for me?
- Certainly.
- Alfredo, she's in the library.
- Yes.
- And these to Miss Nancy.
- She's in the garden somewhere.
- Come in.
- Almost ready?
- Almost.
- How do I look?
- Oh, I like that dress.
Oh, I hope Paul likes it.
This is the most important night of my life.
[MUSIC PLAYS IN DISTANCE]
NANCY:
Oh, the carnival's starting.
Come on, girls. Paul's here.
Let's not keep him waiting.
My word,
the two most beautiful girls in the world.
[SINGING] When you are out on the street
Out in the tropical heat
You'll fall in love with a song
With a wonderful beat
Ka-ka-krum-pa-pa
Tiki-tiki-tiki-tiki-tiki-tiki-ta
Ka-ka-krum-pa-pa
Tiki-tiki-tiki-tiki-tiki-tiki-ta
It's got the kind of appeal
That turns your head like a wheel
And what a wonderful feeling
That feeling you feel
Ka-ka-krum-pa-pa
Tiki-tiki-tiki-tiki-tiki-tiki-ta
Ka-ka-krum-pa-pa
Tiki-tiki-tiki-tiki-tiki-tiki-ta
Your heart will beat like a bongo
Just like what's beating in mine
The heat of the sun
May be 101
But you'll make it 109
And there is more to it yet
I'm gonna bet you a bet
That you can pack up and go
But you'll never forget
Ka-ka-krum-pa-pa
Tiki-tiki-tiki-tiki-tiki-tiki-ta
Ka-ka-krum-pa-pa
Tiki-tiki-tiki-tiki-tiki-tiki-ta
Ka-ka-krum-pa-pa
Tiki-tiki-tiki-tiki-tiki-tiki-ta
Here comes that vendor Manuel
He has umbrellas to sell
And everybody has fun
When they hear that funny man yell
A green umbrella
Blue umbrella
A red umbrella
Many shades and many types
Polka dots and yellow stripes
Help to keep you on your feet
Shade you from the tropic heat
Everybody's got one, got one, got one
Everybody's got one, got one but me
Ka-ka-krum-pa-pa
Tiki-tiki-tiki-tiki-tiki-tiki-ta
Ka-ka-krum-pa-pa
Tiki-tiki-tiki-tiki-tiki-tiki-ta
CHORUS: The heat of the sun
May be 101
But she'll make it 109
But there is more to it yet
I'm gonna bet you a bet
That you can pack up and go
But you'll never forget
Pa-pa-tik-tik-ta
Tik-tik-tik-tik-tik-ta
Ka-ka-krum-pa-pa
Tik-tik-tik-tik-tik-ta
Tik-tik-tum, tik-tik-tum
A -riki-tik-tik-tum, tik-tik-tum
- Shall we dance?
- Oh, I ' d love to.
It's my turn now.
- Grandfather. Grandpa, I ' d like to dance.
- You go right ahead, my dear.
- With you, silly.
- But I don't do these modern ones.
- Come on, I'm gonna teach you.
- Don't go away.
- I've got to talk to you alone.
- All right.
Not here. Let's go out on the terrace.
I wonder where Paul is.
You never mind Paul.
Pay some attention to your grandfather.
- There's such a full moon out tonight.
- Yes, and never mind the full moon too.
FRANCES: This is a wonderfully exciting city.
- I told you you'd like it.
What did you want to talk to me about?
Frances...
The fact of the matter is I need help.
Yes, Paul?
Nancy is such a wonderful girl.
I realize how close you and she are...
...and I wouldn't do anything
in the world to break that up.
You believe that, don't you?
Yes.
Well, I'm afraid
I'm not doing this very well...
...but, Frances, I...
I want you to understand that I think
this might be very good for Nancy.
She could use a father.
A father?
Frances, I'm trying to tell you
that I love you.
Oh, Paul.
- Will you marry me?
- Yes.
Paul, I can't marry you.
- Is there someone else?
- Nancy. I couldn't do this to her.
- She's in love with you too.
- That's ridiculous. She only thinks she is.
- But you did propose to her.
- That's her imagination.
- Frances, you do love me?
- Yes, I do.
But I can't hurt Nan.
I know that.
But supposing I could prove to you
that Nancy is not in love with me...
- ... would you marry me?
- Of course I would.
All right, then, I'll prove it to you.
[FANFARE PLAYS]
Ladies and gentlemen,
we have a big surprise for you.
Miss Nancy Barklay from the United States,
she's gonna sing a lovely song for us.
Oh, come on, Paul.
[SINGING "MUSETTA'S WALTZ"]
- That was beautiful.
- I'm glad you liked it.
- That was lovely.
- Thank you, Paul.
- I've got to talk to you.
- Yes, I've got to talk to you.
- Will you excuse us, Mother?
- Yes, dear.
I've got something very important
to say to you, Nancy.
Oh, have you?
I'm so glad there's a full moon tonight.
It's so romantic.
The moon has nothing to do
with what I'm going to say.
Oh, but it helps a lot, doesn't it?
Nancy, I want you to pretend it's raining.
All right, darling, it's raining.
No, no, no. I mean...
- Look, things can't go on this way.
- Of course they can't, darling.
That night on the boat
when I proposed to you...
- I mean, when you thought I...
- Well, I was young and foolish then.
- But now I know what I want.
- You can't be in love with me.
Is that what you've been afraid of,
darling?
- Why, of course I'm in love with you.
- Nancy, look at me.
- Oh, you're wonderful.
- Take a better look.
Why, I could be your father.
Oh, my father. You silly boy.
Nancy.
Paul is right.
He doesn't want to hurt you, dear,
and you mustn't hurt yourself.
What you feel now
is something every girl goes through.
It's part of growing up.
Why, when I was 15,
I was crazy about an acrobat.
When I was 16,
I wanted to marry a deep-sea diver.
And when you were 17,
you married father.
Yes, I know. But that was different.
Your father
was only two years older than I.
I know how you feel about Paul now,
darling, but it isn't really love.
That's still ahead of you.
And someday you'll laugh about all this.
But when you find your Paul,
someone your own age...
...you'll be the happiest girl in the world.
So that's it. You've taken him from me.
- Nancy.
- How could you?
The two people I love most
betraying me behind my back.
I offered you the heart of a woman...
...and you treated it like a plaything.
You took a beautiful dream,
made of starlight and evening song...
...and turned it into a shabby, sordid...
- Escapade.
- Escapade.
Well, I won't hold you.
You're free to go, free to forget me.
All I ask is the warm,
merciful cloak of solitude.
I'm through with men
and all their hypocrisy.
This is farewell. Farewell to you both.
- Wasn't she wonderful?
- Wonderful? You'd better go after her.
Why, that's the big scene
from the third act.
Paul, she'd be wonderful as Emily.
I'll cable Barrett right away.
Miss Elliott... I mean, Mrs. Berten,
you're late.
Yes, I know. Come on, darling.
I'm sorry we're late,
but we had car trouble and we...
There's a show on, you know. The finale.
Yes, come on.
[SINGING]
Love is like this
Strange as it seems
The moment you kiss
Your maker of dreams
A beautiful world of love will unfold
The moonlight of old will turn into gold
With one little kiss
For love is like this
You float away
On the light of a magic lantern sky
A way
Where you certainly will
Reach the top of a thrill
On the wings of a sigh
All of your schemes
Lost in the blue
Will turn into dreams
The kind that come true
And when you feel the glorious glow
In someone's hello
Then your heart will know
The meaning of bliss
For love is like this
CHORUS: All of your schemes
NANCY: Ah-ah-ah
CHORUS: Lost in the blue
NANCY: Ah-ah-ah-ah
CHORUS: Will turn into dreams
NANCY: Ah-ah-ah-ah
CHORUS: The kind that come true
NANCY: Ah-ah-ah
And when you feel the glorious glow
In someone's hello
Then your heart will know
- The meaning of bliss
- The meaning of bliss
For love is like
This