Original subtitles

There'll be time for love and a time for living. Take a chance and face the

wind. An open road and a road that's hidden. A brand new life around the

There were times I lost a dream or two.

Found a trail and at the end was you.

There's a path you take and a path not taken. The choice is up to you, my

friend. It ain't so long that you might awaken to a brand new life, a brand new

life, a brand new life around the bend.

Angela, where are you going?

I'm going out on a date. Oh, all right.

All right, a date, huh?

Gosh almighty, am I proud of you.

Gee, Dad, thanks. Can I have the keys to the car?

Sure. You need gas money? Bye, Tony.

Oh, wait a minute. Is it Peter? Yes, Tony, it's Peter. Goodbye. Oh, that's

great, Angela, because, you know, you haven't gone out with him for a couple

weeks or anybody, for that matter.

I'm just so happy I could... I could jump for joy.

I'm going, I'm going, I'm going.

Yes.

Okay.

I forgot my tickets.

I'd forget my head if it wasn't so darn attractive.

Well, hey, have a great time with Peter.

Wait a minute.

You're not going out.

Boy, nothing gets past you.

Well, in other words, you and Peter don't have a date tonight.

I swear it is like talking to Columbo.

Peter was getting a little too serious, and so I just decided to cool it, okay?

Sure, sure, sure.

Just the one thing.

Why did you say you were going out with Peter when you weren't going out with

Peter?

Stop it, Tony.

Tony, don't you realize... Every time you've got a date with Kathleen, you're

all over me about not dating. Hey, Yoda, this has nothing to do with Kathleen. I

just don't like to see you home every night buried in your work. I like to

Now, please, will you go to the theater and stop meddling?

Oh, okay, fine.

Hey, I don't need a building to fall on me, you know.

And I promise I will never meddle again.

Sam!

Sammy! Sam, Sam, Sammy, Sam.

This is your lucky night.

Dad, tickets to Les Mis, thank you.

No, no, no, no, those are mine.

But you, you lucky dog, you, you get to spend the night with Angela.

What's second prize?

Come on, Sam. I'm sorry, Dad, I've got to go to the library. Will you stop

meddling in Angela's life? I do not meddle.

Mona!

Mona, Mona, Mona, Mona, Mona.

Where are you going?

I'm going to the Down Beat.

Ooh, the jazz club, huh?

Um, going alone?

No, I'm meeting fingers there.

Fingers, huh? Well, what instrument does he play?

He doesn't.

Well, hey, Mona, I got a great idea.

Why don't you take Angela with you?

What kind of sick joke is this?

Look, look, she needs a friend right now. Come on, be a friend.

Now, look, I'm already late. I gotta go. Be a friend, Mona. Come on.

Oh, good. He's gone. Now I can work in peace.

Well, you're not going to work all night, are you? Oh, no.

Oh, no. Wall Street Week is on at 10. It's a repeat, but it was a humdinger.

Going to kill Tony for this?

Angela, how would you like to go out with me tonight?

What kind of a sick joke is this?

on to me.

All right.

It was terribly smoky in here.

Did you have to bring your radio and your car telephone in with you?

Mother, this is not the nicest neighborhood.

You know that guy that took your keys? He was not the valet.

Kidding, kidding.

Lighten up, Angela. Do you swear that Tony didn't ask you to bring me here? I

swear.

I am proud to be seen with my daughter.

Embarrass me and I'll kill you.

Hey, Mona.

Hey, what it is? Red.

It is what it is.

Don't embarrass her. Yeah, right.

What is it, baby?

Usual, Mona?

Make it two.

Uh, excuse me, where is the non -smoking section?

Utah.

Well,

they're very good. That's not bad at all.

I know.

Catchy tune.

Hey, you getting there?

Cough drops.

What?

Oh, well, cough drops. You know that jingle that I've been looking for? This

perfect. Can't you just hear the coughing in there?

What?

Rule number one, don't cough to the music. But Mother just happens to be

American. Rule number two, don't call me Mother.

Any other rule to tamp Mona?

Yes. When you forget work, you're here to have fun.

See, Paul, that's easy for you to say. You walk in here, you smash some elbows,

and you've got friends for life.

I mean, I never know what to say, and I bruise easily.

Well, you know, sometimes you don't have to say anything at all.

Observe.

If this could only be harnessed for peaceful purposes.

Look, it's getting late, and I've got a breakfast meeting with Sanderson.

Oh, skip it. Are you crazy? I can't cancel. Then delegate.

You have two senior VPs. Use them.

That's true. I mean, I could give them a little more responsibility.

Exactly. Oh, Angela, you have reached the point in your life where you can

afford to let go.

Your agency's a big success. You've raised a wonderful son. And the goldfish

have been dead for three years.

My point is that you have a choice. I mean, continue burying yourself in your

work or do all those things you've always wanted to do in life. Now is the

Maybe you're right.

Of course. Will you listen to your Mona?

Hello?

No? No, that's all right. I can talk now. You haven't heard a word I said.

you talking business?

No, I'm talking to him.

Isn't he cute?

Yeah. Like a little angel.

Aw, he looks so peaceful. Yeah.

Sing him a lullaby.

Boyfriend!

Fire alarm! Everybody out! Single file!

Hey, hey, hey, that is not funny.

You two should be ashamed of yourselves. We are.

We are so ashamed.

Oh, good. Hey, are you two smashed?

No.

We're just high on life and sparkling water.

Oh, great.

I'm glad to see you had fun.

It's so nice to see a smile on your face again.

You know, I knew if you got out, it would perk you up.

Way to go, Mona.

Oh, you're the greatest, Mona.

Born free.

Just a few people from the club. That's Leonard Tibbs. He's the critic, the jazz

critic for the Gazette. And that's Del Moore.

He used to play with Charlie Parker in the 50s. And that's Jimmy Perez.

Well, he broke up with his girlfriend, so he needs people.

Well, take him to the bus station, huh?

Well, isn't it a little bit late to be having a party?

Well, Tony, we were having such a great time, we didn't want the night to end.

Hey,

Angie, check this out.

Listen to that bass.

It moves like clothes swaying on a clothesline.

It takes you up and down.

Up and down.

Hey, hey, it's starting to rain. Let's take the clothes in, okay?

Jerry Vale, whose album is this? Hey, hey, you just let go of my Jerry Vale

album there.

Hey, would you blow with that music?

Did you realize it's 2 .30 in the morning here?

You told me to go out and have fun, and I am. Now, you don't have to stay up and

babysit. Go on up to bed.

Okay, okay.

I'm going.

I'm going.

Use posters.

Animals.

Angela, you're up already? You couldn't have had more than two hours sleep.

I know. And I feel wonderful.

I feel so energized.

Tony, you missed a great party last night. I didn't miss anything.

I heard every word, every record, every bad joke. By the way, who won the limbo

contest?

How low can I go?

Angela, what is happening to you?

I don't know.

I don't know. Something Mona said last night just clicked.

Well, far be it from me to be the party pooper here, but see if this clicks. If

you don't hurry up and get ready, you're going to miss your train.

Does it really matter, Tony?

Angela, did you hit your head on the limbo stick?

Hi, honey.

Well, this explains all the dogs in the lawn.

Honey. Oh, no, no, no. I think it's great what you're doing, Mom.

What a week between the cello lessons, the parties, the yoga workouts.

Guys, hello.

Oh, hi.

This is God's stop.

Well, I know it's been rough on all of us. I know what you're talking about,

John, but your mother's just going through a phase. I know, the goldfish

yada, yada, yada.

Kids got a mouthful.

Idiot. Do I have to proofread everything that comes out of that office?

Mona, is that you?

Memo to myself.

Kick some butt in accounting.

I'm scared, Dad.

Yeah, me too, but don't make any sudden moves.

When I come home from work, I want a few smiles here. And if you can't do it,

I'm going to find some people that can.

Um, Mona, do you see what's happening here? Yeah, I need a whole new office

staff. No, no, I mean the fact that you're going to work at 7 .30 in the

and you work right through lunch. So?

Well, when was the last time you caught a movie on your coffee break?

Oh, not for at least a week. Not since Angelo.

Oh, my God.

I have become a dependable, responsible person.

Relax. We can fix this.

I mean, I go into the office one day. I answer the phone. I make a decision.

And the next thing you know, I'm Angela.

This is all your fault.

You told me to take her out. I told you to take her out, not reprogram her. You

have nobody to blame but yourself.

Well, let's not be petty here. I don't care that it's your fault.

All I want you to do is tell her she has gone over the line. Oh, no. I'm not

telling her. You tell her. You're her mother. I am not. her mother. I am her

best friend. It would break her heart.

Well, I'm her best friend, too.

Okay, we'll break it together.

Good, sounds good. Okay, here's what we do. I cannot believe the two of you.

Angela has never been happier.

She's going out every night like you wanted, Dad. She's got a new best friend

you, Mona. And as soon as it becomes a little inconvenient, you want to squash

her spirit like a... like a big old spirit squasher.

Hearing the radio. Very cute.

Well, better safe than sorry.

Would you look at her like she owns the place?

Well, ask her if she can close early.

Yo, stick.

Sticks? It looks like you've appropriated a new radio.

Nice.

Of course there are women more beautiful than me, but none of them would speak

to you.

Who are those guys?

Uh, the, uh, a banker, uh, two lawyers, and an accountant.

Beatniks.

Usual Angie Mound.

Sticks, I know what you want.

I am not Sticks.

All right, I get it. You're on the lam again. I never saw you.

Hey, Angela.

Hi. Oh, no.

Oh, well, I'll think about it.

They think about what?

Nothing. Why? What is he saying? Nothing.

Sticks.

Why?

I got no idea.

What kind of place is this?

Thought about it yet, Angela?

You're going to come up here and sing?

Oh, no, no, no.

do this? I can't. Sure you can.

Hey, if she says she can't, she can't.

Okay.

Do you believe this? I'm still trying to figure out who Sticks is.

Never know how much I love you.

Never know.

How much I care.

This is so embarrassing.

Just be glad she's not playing the cello.

When you put your arms around me, I get a fever that's so hard to bear. You give

me fever.

When you touch me, fever. When you hold me tight, fever.

In the morning, fever. Fever all through the night.

Boy, she's giving me a fever.

Hey, Bob, that's my daughter.

Way to go, Mom.

Fever.

Fever all through the night.

Fever.

for the last time, I am not sticks.

That's just like sticks, just they ain't sticks.

For me, sticks, please.

Has sticks ever let you down?

Hold it, sweetie.

Just get out of here. What is wrong with you, Mona?

I am not Mona, and I'm not your buddy, and I'm not your playmate. I am your

mother. You've always been my mother. Yes, but lately I have had to act like

and I resent that.

I thought we had a good thing going. I want things back the way they used to

You, the mousy, dishwater, dull workhorse, and me, the irresponsible,

wisecracking center of the universe.

I didn't ask you to change.

Well, I didn't have much choice, did I? I mean, somebody had to take up the

slack. Somebody had to worry about your business and your health and what that

bum at the next table said. Way to go, Mom.

Are you mad at me? No.

I love you.

I just want to go back to taking advantage of you.

Oh, Mother.

Oh, gee, felt good to say that again.

Yeah, yeah, yeah, I'm getting all misty here.

Look, you take back your appointments and your clients and your business

lunches, I am taking a five -day weekend.

Because I am Mona, and I can.

Yeah.

All right, hey, I told you I wasn't sticks.

A room on a crate for me?

Geez.

Oh, excuse me. Splinter.

You and Mona have a nice talk?

I have a very strange mother, Tony.

You ain't exactly June Cleaver either.

I mean, at least not lately.

I know. I know I go overboard.

Why do I do this, Tony? Why do I do these things?

Angela, you're kind of like a...

Like a well -tuned sports car, you know?

Great lines, you know, low to the ground, five on the floor.

The only problem is, is you're always either in first or fifth.

And there's a lot of great gears in between.

So, um, what did you think of my performance?

Oh, it was, uh, it was very nice. Very, uh...

Very good. It was entertaining in a sweet sort of way, you know.

Sweet? Yeah, sweet.

You give me fever.

Angela, don't do that.

When you touch me. Angela, don't do that.

Fever when you're home. Cut that out. Angela, this is a very respectable

Fever! Have a morning fever all through.

Stop with the Jerry Vale.

What did you say?

That's not you in the kitchen. Then who is... Cantare.

It's Jerry Vale.

Smoker, what do you do with Jerry Vale?

Whoa, whoa.