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(grand orchestral music)

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(light chiming music)

- One, two, three, that's the time.

One, two, three, please don't bounce.

No, no.

Just a moment.

The bounce is most unfortunate.

Please remember ladies and gentlemen,

we're learning the waltz.

Now let's try that again.

One, two, three, back two, three, please don't bounce.

One, two, three, you're shuffling Mr. Adams.

One, two, three.

One, two, three.

That's quite good.

One, two, three.

Better there, Mr. Cottle.

One, two, three.

One, two, three.

One, two, three.

One, two, three.

One, two, three.

One, two, three.

All right, that's splendid.

Now, we've conquered the fundamentals

and we're ready for the turns.

If you would just take your partner

to form a circle, please.

Now, let us approach this new dance with freshness, gaiety,

and a decided degree of abandon.

Miss Ponsonby, if you please.

The elementary position is, the male partner, A,

faces the female partner, B. The male partner, A,

places his arm around the waist.

- Around the waist?

- Around the waist.

-Oh!

I don't believe-

(crowd murmurs)

But professor, it's so daring.

- It's not daring.

Only modern, European, graceful, novel.

There we are.

Now, let's all try it.

Well, partners face each other.

Gentlemen, place your arm around the lady's waist.

(woman giggling)

Bravely, bravely, it takes courage at first.

One, two, three, that's the way.

(all laughing)

- Professor Pride, it's almost nine o'clock.

The Providence coach leaves in an hour.

- Oh, to be sure.

Ladies and gentlemen, that will be all for tonight.

We'll continue the lesson next Wednesday evening.

- Oh, professor, couldn't we do just one more turn?

- Oh, I'm awfully sorry, but I really must go now.

I'm going to my aunt's for the weekend.

- Oh.

- Remember the rents.

- Good night, professor.

- Goodnight.

- Good night, professor.

- Good night.

(all chattering)

- Good night, professor.

- Good night.

Thank you, Miss Ponsonby.

Good night, good night.

- You told me to remind you, your aunt

wanted her umbrella returned.

- Oh, thank you.

I almost forgot.

Do you mind if I-

- Oh, you give it to me.

I can fold that better than you.

- Thank you.

I'll straighten up the room.

- You'd better hurry.

I'm told those coaches leave exactly on the minute.

- Oh, yeah.

Oh, just a moment.

My music box.

Have you ever traveled on the Providence

four-horse coach, Mrs. Tucker?

- Mercy, no.

I wouldn't tempt fate.

- The very danger of it that appeals to me.

Speed, excitement!

(whistling) (upbeat orchestral music)

(whistling)

- Oh, excuse me sir.

Excuse me.

- Have you lost something, sir?

-Aye, that I did, matey.

My gold lucky piece.

Had these 40 years.

Man and boy.

- Aw.

- Bless you.

It isn't every fine gentleman that would-

- It's perfectly all right.

I have plenty of time to catch my coach.

Are you sure you lost it here?

- Brother, I think I dropped it

just about over in, oh, look!

I wonder if that could be it.

There you are.

Well that completes the crew of the Bouncing Bess.

(bell ringing)

- Nine o'clock, and all's well.

(light orchestral music)

(dramatic orchestral music)

(suspenseful orchestral music)

- Nevermind those galley knives.

Sharpen them cutlasses.

- Yes, sir.

I've already finished those.

- Hmm.

Do you call that sharp?

Why-

- Gulliver!

- Aye, aye, sir.

(dramatic orchestral music)

Finish them cutlasses first or I'll split your gullet.

- You put down that cutlass, and finish my galley knives.

-Yes, sir, but the bosun-

- No arguing!

First they give me a tailor.

I had to throw him overboard in a gunny sack.

Then they gave me a schoolmaster.

I made him walk the plank down in Panama.

Now what do they send me for a galley boy, huh?

A dancer!

- Row away the long boats.

(suspenseful orchestral music)

- Find your men, bring out those casks.

(man shouting indistinctly)

- Cookie, lend a hand with those casks.

Pass them up.

I want them back aboard and filled with fresh water

before the wind changes.

Go!

Go on!

You lazy lubbers!

Go on!

- Come on you lazy lubbers, get those casks over the rail!

(all shouting)

(light orchestral music)

- I've lost it.

Shiver me timbers, I've lost it.

It's gone.

- What?

- My gold lucky piece.

I've carried it these 40, 20 years, man and boy.

- Oh, gold is it?

Stand aside you swab.

If there's anything here, I wants it.

- Yes, sir.

Well, you get it.

(light orchestral music)

(dog barking)

- What, Chucho?

We're all covered with fleas.

They bite the just and the unjust alike.

(suspenseful orchestral music)

Chucho, pirates!

Heaven protect us.

(dog barking) (suspenseful orchestral music)

(light orchestral music)

(suspenseful orchestral music)

(bell ringing)

- Hey, what's the matter?

Mama, (speaking foreign language).

- Pamfilo, what is it?

(man speaking foreign language)

- Here, knock yourself out.

Vamos, Mama, vamos.

(man coughing)

- Blanca, Blanca!

What is all that noise?

- I don't know.

It must be something terrible, senorita.

- Stop that, you fool.

You'll wake up the alcade.

You'll wake up Dom Emilio.

- What's the matter?

Did the collectors get your sheep?

- No!

- Is it a fire? - No!

(woman speaking foreign language)

- No!

(bell ringing)

- He is just a little bit crazy.

But the shepherds get that way.

(all laughing)

No, no, no, no, calm down, calm down.

No, no, no.

Tell us, what is the matter, huh?

- Pirates.

- Where?

Why didn't you tell me!

You hear what he says?

Pirates!

- What shall we do?

- Shall we go to the fields?

- Shall we go to the hills?

- No.

We go to the Meade.

He'll protect us!

(all murmuring)

- Pirates.

- What shall we do?

- Well, I'll go and put some clothes on.

- Get them casks off.

Take them up to that spring.

We've got to get back on board

before the wind sets in-shore.

- Now just a minute.

I'll take that one, you take the little one.

- Take away!

Get going.

- Avast!

Where are you going?

- I was going to the spring.

- The spring's down there.

- Oh, yes sir.

- Wait a minute.

Put that down.

You and me is anchoring right here.

I don't see why Cookie let you ashore anyhow.

Sit down.

(all chattering)

(all chattering)

- Wake up!

The pirates are coming!

(all speaking foreign language)

- Father, father!

Wake up!

Wake up, wake up!

Pirates are coming.

Pirates!

- Oh, no.

It's not, it can't.

It's too early for pirates.

- We haven't!

Alejandro saw them.

By the hundreds, by the thousands!

They are marching down in the village!

- Ch, go away.

Don't bother, Pirates?

What?

Here?

What are you doing here?

You, you know what pirates are.

Go to your room.

G-g-guard yourself.

Protect your, Juan!

Give me my clothes!

Get my-

- What shall we do?

Tell us!

Lead us!

-Yes, we" I can't lead you till I get my pants on.

Juan!

Here!

- I've lost it.

Shiver me timbers I've lost it, it's gone.

- Lost what?

- Me gold lucky piece.

I've had these 20 years, man and boy.

- Lucky piece?

- Yes, it's gold.

Very valuable.

Must be around here in the sand.

- What are you trying to do?

Pull that old shanghai story on me?

I invented it.

Sit down.

Sit down!

(light chiming music)

- What's that?

(all shouting)

- Citizens of Las Palomas, my children.

The curse of the coast, the scourge of the sea,

like a wild beast from the poem, has pillaged and ravaged.

Trinidad!

Soledad!

Felicidad!

- Felicidad?

- Eh, well, maybe not felicidad.

But anyway, they are upon us.

With fire and sword, they menace not only

our possessions, but our sacred honor.

(all shouting)

Are we men?

Or are we mice?

Shall we fight, of shall we run?

Eh.

Your resolute faces give me the answer.

Fight.

(crowd cheers)

And if we ran, they'd only catch us anyway.

So, in defense of your homes and your loved ones,

I Don Emilio Jose Marias Salazar Perena, your Alcade,

dedicate my sword!

My sword, no, I, oh, I can't, will you give me my sword?

Yes, thank you very much.

Where was I?

- I, Don Emilio-

- Ah, yes.

I, Don Emilio Jose Alazai Perena, dedicate my sword.

(all shouting)

Pamfilo, please handle the artillery.

Men, get your weapons.

Summon Las Palomas to arms!

(crowd cheering)

(all shouting)

- Let me go I tell you!

I'll catch him!

I'll cut his gizzard out!

-Ah, listen galley boy, we'll just-

- Galley boy?

Come on, come on, the old man will be waiting.

(grand orchestral music)

(soft orchestral music)

(all chattering)

- Our gallant charge, Pamfilo.

This cannon must kill them by the hundreds.

- By the thousands.

- Oh, the thousands.

Will it make much noise?

- Magnifico.

- Magnified?

Oh.

- Senolvia, bring the powder, bring the stuffing,

and I'll bring the ammunition.

- Sure.

(all chattering)

(cat meowing)

- Dear, what are you doing there?

This is war!

Get away from there.

Scat!

Go on!

(cat meowing)

- What, you inconsiderate monster.

(cat crying)

- Don Emilio, they're coming.

They're on the road.

- Why?

What, speak up.

- The pirates!

I saw their advance guard.

Si!

- Advanced guard?

They're coming here.

- Men of Las Palomas, to the ramparts!

No shooting till I fire the cannon.

And then, massacre them!

(all shouting)

(light orchestral music)

(suspenseful music)

(light orchestral music)

- Hello!

(suspenseful music)

(light orchestral music)

- Here he comes.

(gun firing)

- Hey, be careful.

That's dangerous.

(explosions booming)

(woman speaking foreign language)

- Now they'll never get in.

(woman screaming)

(indistinct)

-I hope I'm not intruding.

- Women of Spain know how to die.

I'm not afraid.

- You're not?

I am.

Do you think they'll leave us alone up here?

- I know your intentions.

- My intentions are to hide.

These people are dangerous.

Ah, that's an excellent idea.

(explosions booming)

(all chattering)

- He went up there.

Into the senorita's room.

(all chattering)

-All right, will it hold together now?

- I guarantee it.

- Well, put a little more powder in it, son,

I could hardly hear it.

Do me a favor, if we-

- Look, Don Emilio.

A flag of truce.

And part of-

- What, did the pirates surrender?

- I don't think so.

They're in your daughter's room.

- In my daughter's, what, already?

- Help!

Help!

- Come away from there, do you want to be shot?

- Stop.

I prefer death to your embrace.

- Don't do that.

- Once step nearer and I'll-

- If you kill yourself now, you'll regret it.

(all chattering)

- He's killing her!

Stop them!

Stop the pirates!

- But I'm not a pirate.

Oh, did you think I was a pirate?

- Father!

- Serafina!

Oh, what did he do to you?

Yes, tell me again.

What, he killed Blanca!

You, I'll, I'll put you in jail!

I'll hang you by your,

I'll make it very uncomfortable for you.

- I insist.

I'm not a pirate.

- Don't lie to me.

I guess I know a pirate when I see one.

Hey, Pamfilo, you get our fastest horse

and ride to Monterey, and tell them

that we've caught the most dangerous pirate on the coast.

- Don't send him to Monterey.

- Why?

- We caught him.

We're entitled to hang him ourselves.

- Oh, no, no, I haven't got the authority.

I, I, I, or have I?

-Yes, you are the Meade.

- Yes? - You caught him.

- Yes?

- We will build the gallows right here in the plaza.

- Yes, well, we could do that.

I mean, it would be fun.

Let's hang him ourselves!

- I demand a hearing.

I reiterate, I am not a pirate.

- You leave right now.

Take him out.

(all chattering)

- Pirate coming!

- He here is.

I caught him myself.

Murder, murder.

(man speaking foreign language)

- He killed Blanca.

- He killed Serafina.

- He killed the Alcade.

- No, no, my children.

Fortunately, I'm not killed.

Wounded a little, perhaps.

But what's that to a soldier?

(all shouting)

(bell ringing)

- What is it?

What's the matter now?

- The pirates!

- Oh.

The pirates?

Are they coming?

- No, no, senor.

They're gone.

(all cheering)

- Men of Las Palomas, we've reproached the barbarians,

we've captured their leader.

He will meet his just fate on the marrow!

(all chattering)

And this sacred blade, with which I defended our city,

now becomes a symbol of justice that...

To which we may point with pride.

(all chattering)

(light guitar music)

(singing in foreign language)

- I know everything will go all wrong.

If we'd only had a few hangings before.

Sure to mess it all up.

And how they'll laugh at us in Felicidad.

Please don't do that.

You're always making, uh, both of us, oh, dear.

Thank you.

I've never been so nervous in all my life.

Do you think maybe a feather would improve it?

No, I guess not.

Well, ah, are you ready now?

Don't keep us waiting.

- I'm not going.

- You're not?

- It's a terrible thing to hang a man?

- If you were my father, how would you

deal with a man who tried to attack me?

- I cannot make myself believe that he intended to harm me.

80 young.

And he doesn't act like a pirate.

And even if he were, is the way to treat him?

- What?

I couldn't give a better hanging to my own father.

- Oh, father.

- What's got into, what do you, I, oh!

- Senor I'm sorry, I'm terribly sorry.

You are only taking one meal with us.

Supper.

It is our specialty.

- Pamfilo!

Pamfilo!

The sauce.

You forgot the sauce.

- Oh, excuse me, I forgot the sauce.

Here.

Now taste it.

Is that much better?

- Yes.

- Senor, I hate your pirating,

but I admire your good taste.

- Pamfilo!

- Si.

Please, senor, stand up.

Step in.

- Gracias, senor.

Adios.

- That's all senor.

Now you sit down.

Sit down.

And eat this while it's hot.

You know that man Fernandez, he makes

the most beautiful coffins.

What is the matter, senor?

- Nothing.

I'm not very hungry.

- He does not like my cooking.

- Oh, it is not that.

He does not like me.

You think I am not your friend, because I

wanted to hang you right away.

But someday you'll thank me for saving

you from that Don Balthazar.

-Aah!

Don Balthazar.

- Yes, he is the captain of the guard up in Monterey.

If we had sent you to him, he would have hanged you cruelly.

- But why should I be hanged at all?

I'm not a pirate.

I never was a pirate.

I'm a dancing master.

(all speaking foreign language)

- Oh, senor.

(speaking foreign language)

It is time for us to go.

Will you please do something for me?

I'm in charge of this.

When we go there, smile.

Si, senor.

- Adios.

(all chattering)

- Here he comes.

Here's the pirate.

- Pamfilo.

- Si, senor?

- If everything is ready, we can

proceed in the unusual manner.

What is the usual manner?

- Well, your excellency, there are several methods.

That is, but I'm going to use my own.

First I am going-

- No, no, no.

Don't tell me.

Surprise me.

- Si, senor.

Ernesto!

- Senor?

- Are you ready?

- Si senor.

(speaking foreign language)

- Are you comfortable senor?

- This is really going too far.

I stand on my rights.

I demand a hearing.

- Shhh.

Please don't spoil everything.

Wait, wait.

Musica!

(grand music)

- Ernesto!

- Senor?

- Are you ready?

- What?

-Shh.

- Serafina!

Over at the jail, Senoria gave him some cooked meat to eat,

and he wouldn't touch it.

That proves that he's a pirate.

And him saying he's a dancing master.

- A what?

- A dancing master.

- I knew it.

I have to save him.

- Serafina!

- One,

two-

- Stop!

Stop!

Father, father!

- What?

I thought you didn't want to come?

What's the matter now?

- Don't hang him.

He's not a pirate.

- What? - He's a dancing master.

- A dancing, who says so?

- He does.

- He does?

Well, of course he'd say anything to save his own neck.

- But it's true, sir.

I am a dancing master.

- Oh, you don't look like it.

He claims he's a dancer.

(all laughing)

- I am, and I can prove it.

- It's ridiculous.

- It is not ridiculous.

- Yes, it is.

He, he, he-

- Give him a chance.

- No, we haven't time.

I've got to-

- Father, you're being unjust.

- Unjust?

I?

Unjust?

Well as I'm known as the most just, how can you,

my own, as Alcade of Las Palomas,

I order you to prove your preposterous claim.

And if you can't prove it, mind you, we'll have,

they'll be, one of the, music!

- Si, senor.

(light guitar music)

-All right.

Untie him.

- Senor Pamfilo, the grave is ready.

(singing in foreign language)

(crowd cheering)

- Now, now what do you think?

- Well, I think he ought to be ashamed of himself.

You ought to be ashamed of yourself.

Any man who can dance like that, and then

prefers to be a pirate, deserves to be hanged.

- Si, senor.

Ernesto, are you ready?

- No!

No!

- Dear!

What are you going?

-You will not hang him.

- Serafina, we don't want women hanging around the gallows.

Now, you'd better-

- What others can you teach?

- Why nearly all of the them.

The minuet, the waltz.

- The waltz?

- Yes.

- Father, but he knows the waltz.

- Well, what of it?

- You must postpone the hanging.

He must teach me.

- Oh, now you're being unjust.

The majority must rule, and all these good people

want to see him hanged.

- They don't.

- Well, they certainly,

men of Las Palomas,

do you want to see this man hanged?

(crowd cheering)

There you are, you see?

- Women of Las Palomas, he knows the waltz.

Do you want him hanged?

- No!

- Uh, no?

You, oh-

- The majority must rule.

- Uh, yes.

The majority, well, men of Las Palomas,

you heard the voice of the people.

We'll continue with the fiesta, but we'll

have to postpone the hanging for some other time.

(all chattering)

(upbeat music)

- Please, please.

I don't know how I can ever thank you.

- Don't thank me.

Teach me.

- You better have the gallows taken down.

But be sure and save the lumber.

Of course we might-

- Oh, Don Emilio I am so sorry.

I had everything fixed carefully.

-Yes, I-

- I know you would have liked it.

- Oh, I'm sure I would've liked it.

What had you planned?

- Well, come over here.

- Yes?

- I was going fix the noose like this.

- Ah-hah.

- Then, musica!

(grand orchestral music)

I was going to count like this, one, two, three.

- Ah, that's fine.

-And then, I was going to drop the handkerchief like this.

(all chattering)

- Hey, Ernesto!

- That would've been wonderful.

(light orchestral music)

♪ No, no, I'm not so sure if he loves me ♪

♪ What can I do ♪

♪ No, no that would be too much bliss ♪

♪ Yes, yes, I know a way to discover if he'll be true I

♪ Yes, yes, my little plan won't miss ♪

♪ I'll be brave and I'll ask him this ♪

♪ Are you my love ♪

♪ Then life's begun for me ♪

♪ Are you my love ♪

♪ The moon and sun for me ♪

♪ Are you my joy ♪

♪ Are you my pain ♪

♪ Are you my everything ♪

♪ Earth and heaven ♪

♪ Are you a dream that's overtaken me ♪

♪ If you're a dream, then don't awaken me ♪

♪ My heart must know or you'll deceive me ♪

♪ Are you my love, my sweet ♪

(light orchestral music)

- Serafina!

Come now, hurry up.

Ah.

Buenos dias.

- Buenos mas, Don Emma.

(light acoustic guitar music)

(singing in foreign language)

-And you still want to learn the waltz?

- You said you could teach me?

- Yes, you certainly did.

You mean to say that I pulled down the gallows for nothing?

- Oh, no sir.

I can teach it.

- Well, all right then.

Go ahead.

Pamfilo, did you search him for any concealed weapons?

- Si, senor.

- All right, then.

Place one of your men at this door.

Now, you can go.

No false steps, mind you.

And no false notes.

- Pardon me, sir.

I brought my own music.

You see, the waltz is a dance in three quarter time.

Senorita please observe my feet.

One, two, three, front, two, three, back, two, three.

Would you try it please?

One, two, three, please don't bounce.

Back two, three, front two, three.

Very good.

Excellent.

Splendid.

Bare in mind, we must approach the waltz

with a degree of abandon.

- Oh, abandon.

Well, that's, remember your, uh, Salazar.

- And now for the turn.

I shall demonstrate.

Male partner, A, faces female partner, B.

Male partner, A,

places his arm around the waist.

(all chattering)

- Pirate!

- But you don't understand.

The waltz is an intimate dance.

- Intimate, yes.

Take him to the jail.

We'll resume the hanging tomorrow.

- But you can't hang me for this.

Why, I've done it to hundreds of women.

- Hundreds of women?

- Hundreds of woman.

- Take him out.

- You were right, father, he's just a pirate.

- Yes, certainly.

Absolutely.

(light orchestral music)

(light chiming music)

- One, two, three, float and glide.

I'll never get this right.

Did he say one, two, three, or one, two, three, four?

- He said one, two, three.

- It doesn't work.

I don't believe he's a dancing master at all.

- Don't blame him for your own clumsiness.

Now give me your hands.

Male partner, A, faces female partner, B.

Now, one, two, three, please don't bounce.

One, two, three, new for the turn.

One, two, no, Blanca, you must turn this way.

One, two, three.

You see?

Now if we were...

Male partner, A, puts his arm around, Blanca.

Could it be possible that the waltz is done this way?

- Oh, no.

- But it is, look.

I understand.

Blanca, you wait here.

I'll be right back.

(light chiming music)

Senor pirate.

I've come to ask you a question.

When, when you put your arm around me, it was necessary,

wasn't it?

It was part of the dance?

- Well, yes senorita.

You see, the waltz is-

- A turning dance.

Yes, and it must be danced-

- Must be danced with abandon.

- Exactly.

The female partner, B, stands-

- Wait, male partner, A.

(light orchestral music)

- Will you please...

- Will I what?

- Will you please teach me the waltz?

(light orchestral music)

♪ When you're dancing the wan: I

♪ You must not lost your head ma'am ♪

♪ When you're dancing the waltz ♪

♪ Lose your shyness instead, ma'am ♪

♪ You are both vis-a-vis ♪

♪ Let your fingers entwine' ♪

♪ You've no need for a second glass of wine ♪

♪ Swaying ♪

♪ Then it's one, two, three, glide ♪

(dramatic orchestral music)

(dreamy orchestral music)

(choir vocalizing)

(light orchestral music)

(choir vocalizing)

(crowd cheering)

(trumpet music)

(percussive music)

- Oh, Don Balthazar, Capitan.

Well what good fortune brings you among us?

- Horeshoes of a soildier, Don Emilio.

- Oh, well.

Well.

(indistinct)

How, you, how did you find out so soon?

We were going to hang him ourselves.

- Hang him?

- Eh, yes.

We had the plan all worked out.

It was, but we found out that he

was more of a dancer than a pirate.

- Pirate, eh?

- Yes, so, under the circumstances

we thought that he shouldn't be hanged here.

We thought he shouldn't be hanged in Monterey.

As a matter of fact, I don't think

he should be hanged anywhere.

- Well, Don Emilio.

That is for the proper authorities to decide.

- Oh yes, we" I wouldn't, I'll turn him over to you,

if I must.

But I wish you'd tell the governor

to let him dance before he hangs him.

- Oh, I'll do my best.

Chaco?

Take charge of the prisoner.

(man speaking foreign language)

- Salvado?

- We are on official business here.

And if you'll just give us provisions

to continue our journey-

- Don Balthazar.

- Oh, my daughter, Serafina, Don Balthazar.

- Oh, but we cannot let you return to Monterey without

granting us the pleasure of entertaining you.

- Senorita, it will delight me beyond worlds.

- We cannot stay.

We must go.

- We'll stay.

- Si, mi capitan.

- Eh, splendid.

Let's go inside.

- Senorita.

- I have a couple bottles of old-

(dramatic orchestral music)

(man speaking foreign language)

- Come on.

Hurry up.

Hey, more on this.

(dramatic orchestral music)

Listen up, come on.

You keep on working now.

I'll be back.

- Now, sit down Tecelote.

You're tired.

- No, no.

You must not help me.

They nearly caught you yesterday.

- Never mind that.

You rest.

(dramatic orchestral music)

- Am I late?

I have very disappointing news for him.

Blanca sprained her ankle practicing the waltz.

She can't come with us today.

- My heart is bleeding for Blanca's ankle.

But of course it gives me a chance

to be alone with you before I go.

- Oh, you mustn't leave.

I insist that you stay.

- Shall I accept against my order?

- As a request from my father.

- I am sorry, I take orders only from my superior officer.

You command me, senorita.

- Please stay.

- Will you make me very happy?

- Happier than I care to have you know.

(dramatic orchestral music)

- Mama, you watch for the soldiers.

Ah.

(speaking foreign language)

A nice little mouthful for you and the chief.

You taste it.

I'll do this.

(light orchestral music)

- Gracias, senor.

Gracias.

(light orchestral music)

(dramatic orchestral music)

- Ah, this is too good for the prisoners.

We are the guests.

Get back on wheel.

- But senor Chaco, my prisoners cannot go hungry.

(dramatic orchestral music)

- No, no, no.

Not me.

(dramatic orchestral music)

- Stop.

Didn't I tell you to treat these people kindly?

- He should've been hanged long ago.

- That's up to the court in Monterey.

Take a detail of soldiers.

Start with him.

- For Monterey?

-Yes, I am remaining here, as ordered.

- Don Balthazar, you are forgetting my dancing lessons.

- I am sorry.

I have to send him.

I have delayed too long.

- But tonight, the last lesson.

-All right.

(light orchestral music)

(light chiming music)

Does it take three (speaking foreign language)

To watch one couple?

Someone ought to be in the kitchen.

They're making roast chicken, and bring

those bottles of wine.

(speaking foreign language)

- It has to know our dance is over.

It's a pity.

I was going to ask you to keep it.

In Monterey, you see, there will be no Alcade's daughter

who wants to learn how to waltz.

- Juanito, you're not going to Monterey.

- I'm not?

Who decided that?

- I did.

(whistling)

- Pamfilo is waiting by the garden.

He will show you the way through the fields.

- So you're sending me away?

- Yes, there's no time to lose.

You must leave now.

- Then must I go alone?

- No, no.

Pamfilo will guide you.

- But I'm not in love with Pamfilo.

I have a much better plan.

You show me the way.

- Oh, but, that is impossible.

How could I go with you?

- Just by saying, I love you.

(light orchestral music)

(man laughing)

- Duty brought me, love keeps me.

-Yeah, we" love and beauty.

Serafina, fairest fruit on my family tree.

She combines the grace of the Salzais with the brains

of the Salazars and the spirit of the Salazars,

and her mother's cooking.

- To a man with my delicate sensibility,

she has but one drawback.

- Uh, one?

- The land.

- Oh, we" don't let, what?

300,000 acres.

- 400,000 acres, you said.

- Uh, oh did I?

Uh, well, 350.

- Too much, too much for a simple soldier.

- Oh, I-

- What could I do with 60,000 head of cattle.

- Well, you could, uh, 30,000.

- 60,000 you said.

- Oh, uh, won't the cows have calves next year?

Uh, 30,000 cows, uh, uh, a calf a piece?

That's uh, uh, uh, 60.

- That's a bargain.

- The wedding in San Diego, the honeymoon in Boston.

Oh, wait till you see my aunt.

- Senora Pride.

Senor, Senora Juanito Pride.

That sounds nice.

I'll go.

Wait.

Wait here.

(light orchestral music)

- To the union of the Noreagas and Salazars.

To the bride.

- Ah, to the, wait a minute.

Aren't we going a little fast for this?

I mean, how do I, how do we know she loves you?

- How can you question me?

Didn't she invite me to stay when she first laid eyes on me?

- Yes, that's right.

She, I, that was a beautiful horse you rode.

- Didn't she detain me, day by day?

- Uh, yes.

I remember I argued with her about that.

And when you took my bathtub, I, I-

- Two weeks of soft looks and sighs.

What does it mean?

- Eh, oh, oh, what does it mean?

- The girl is madly in love with me.

- Yeah, oh, then she's crazy in love with you.

And after all, who am I to stand

between two lovers that I, oh,

I've been an awful-

- Father.

- Son.

- Shall we go up?

- Oh, yes.

Let's.

We should, while we're...

(light orchestral music)

(chuckling) Where are you going?

- We're just going to try it again.

- Oh?

- And furthermore, your costume is just right.

It's a skating waltz, on the ice, naturally.

And December's very cold up north.

Let's try it.

One, two, three, one, two, three.

See, the lads and maidens gather on the village pond.

(chuckling)

And they-

- That's enough.

Thank you.

You may go now.

Will you please go?

Pamfilo's waiting for you.

- Where are the guards who brought you?

Pedro?

Thomas?

- They're in the kitchen having something to eat.

Pamfilo will take him back.

Oh, will you please go now?

- No, wait a minute.

Before you go, do you think you could

teach me the waltz in one lesson?

I'd like to dance at Serafina's wedding.

- My wedding?

- Uh, yes.

I wanted you to be the first to hear.

Don Balthazar did me the honor of asking for your hand.

And I did him the honor of accepting

and you have the honor of being engaged.

- I decline the honor.

- Oh, you can't, you mean you don't love my son-in-law?

But you, that's what you, you told me

she was madly in love with you?

- I meant love often blossoms after marriage.

- That's right, I blossomed.

Well, why did you keep him here, day after day,

if not to marry him?

- She kept him here to save my neck.

Now you know.

- It does not surprise me.

She probably believes you're innocent.

She has a soft womanly heart.

- Then Don Balthazar, you will not-

- I can do nothing, except for my duty.

- Don Emilio, a moment ago you heard

your daughter refuse this man.

- Uh, yeah, well you could have

knocked me over with a feather.

- Well, you're not going to force her to marry him.

- Well, certainly not.

I wouldn't, you think that I would make my daughter,

especially with Don Balthazar.

Not if she got down on her knees and begged.

I wouldn't, what kind of a man do you think I am?

- A gentleman.

A gentleman who has given his word.

- Oh, my word?

Did I?

Well, after the sixth bottle, I don't seem to remember,

but if I gave the word of a Salazar-

- But you can't bargain away your daughter's happiness.

(dramatic orchestral music)

No gentleman would force a woman to marry him.

- You are stuck.

(dramatic orchestral music)

Take him away.

Off with him.

- Blanca, ask for Isabella the seamstress to come tomorrow.

Tell the bootmaker to come.

And the girls will embroider my bridal veil.

- Senorita!

- Wait a minute.

There's no need for such haste.

Only because I had a few drinks with the man,

that's no reason to rush into matrimony.

And now, how do you know that he'll make us happy?

- Let us have a gay wedding.

- The gayest.

- Let everybody be happy.

- Everybody.

- Even the pirate?

Free?

On his way to Boston?

- As a wedding present.

(light orchestral music)

(bells ringing)

-Andele.

Let's go see the bride.

- I'm not going.

It's a wedding of tears.

- Hey, let him out while I get him a horse.

- Venga.

Are you going?

- Well, what can I do?

- It is too bad you don't have any Spanish blood in you.

You would have a sword in your hand,

instead of this umbrella.

And you'd die fighting for your woman.

- Oh, I left my bag inside.

Would you mind?

- Si.

(dramatic percussive music)

- For you, senor.

All for you.

(dramatic orchestral music)

(bells ringing)

(light orchestral music)

(dramatic orchestral music)

- Senor pirate, are you quite comfortable?

Is your mount to your satisfaction?

It's a pity we couldn't furnish you with a horse,

but they were all needed for the men.

You may go now.

Chaco.

(dramatic orchestral music)

- That umbrella looks awfully heavy.

If he hit Balthazar over the head with it,

I, well, you couldn't marry a man with a broken head.

- Well?

What are you waiting for?

Perhaps you did not hear me.

I told you to go.

And I think it's only fair to warn you,

if you ever caught again around here,

there is a price on your head.

500 gold pieces.

(man speaking foreign language)

- If he had broken the umbrella over his head,

I'd have gladly bought him a new one.

(light orchestral music)

(speaking foreign language)

(bells ringing) (singing in foreign language)

(man whistling)

(man speaking foreign language)

(choir singing in foreign language)

(dramatic percussive music)

- You said they'd be ready.

Ready to fight.

- First they must learn war dance.

- Learn it?

What kind of Indians are they?

- Peaceful Indians.

Their weapons are the ropes.

They don't know war dance.

- I'll make them dance.

(percussive music)

(singing in foreign language)

(all chanting in foreign language)

(choir singing in foreign language)

(light orchestral music)

(choir vocalizing)

- Why are you not at the wedding, Don Pamfilo?

- Ah, wedding of tears.

- Say, have you got that money with you?

- Sure I got the money.

(coins jingling)

One for you, and one for me.

- Right, and one to me.

- Put that down.

(all chattering)

- Stop it.

Stop it!

- What are you doing, you fools?

- Don Balthazar say we share, we share alike.

- Every man for himself.

Don Balthazar is getting his share.

- Yes, he is.

I wish I never followed him out of Monterey.

- Me, too.

Just because the governor kicked him out of the army,

is no reason why-

- Shut up.

Do you want the whole village to hear it?

- Yeah.

- But just the same, what are we getting out of it?

- Oh, imbecile.

Few minutes more and this whole rancho will be ours.

Then we will milk it like it was a cow.

(all laughing)

(all shouting)

- No, I don't spy.

You can't hold me.

You are not real soldiers.

The captain is not a real captain.

Alcade!

Help!

Stop the wedding!

- Now stop the wedding.

While we are here, let anybody stop the wedding, huh?

(all chattering)

(choir vocalizing)

(whistling)

(light orchestral music)

- The pirate!

Get him!

(light orchestral music)

(all shouting)

(singing in foreign language)

(grand orchestral music)

- Pirates!

We got attacked!

- Pirates?

- It's Juanito!

- Wait, finish the ceremony.

- No, no, no, postpone the ceremony.

Finish the pirates.

Here, come!

(dramatic orchestral music)

- Oh, it's you, eh?

You are discourteous, my friend.

You have interrupted my wedding.

We will have to teach you better manners.

- We?

I'm afraid you're alone this time.

- What?

Chaco!

- Si, mi capitain.

(all shouting) (dramatic orchestral music)

- Good.

I will take care of you alone.

I choose swords.

- Here.

(dramatic percussive music)

(dramatic orchestral music)

- Oh, father, he'll kill him.

- Well, I don't know.

I tried it a couple of times.

(dramatic orchestral music)

- More difficult than dance, isn't it?

(dramatic orchestral music)

(indistinct)

- He's not a real captain!

They are not real soldiers!

They are renegades!

- Say that again.

- Renegades!

(dramatic orchestral music)

(man shouting)

- Oh, my boy!

I couldn't have done it better myself.

And as for you, you!

You!

When I think, you took my back-scratcher.

Pamfilo, take him.

We'll, I'll, we'll-

(all shouting)

(light orchestral music)

(dramatic orchestral music)

(all chattering)

-And now, is your mount to your satisfaction?

Give my regards to the governor.

(all shouting) (light orchestral music)

(light orchestral music)

(man vocalizing)

(light orchestral music) (vocalizing)

(upbeat orchestral music)

(singing in foreign language) (light orchestral music)

(dramatic orchestral music)