Nancy Goes to Rio

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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:

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