Seven Men and One Brain (Italian: 7 uomini e un cervello) also known as Criminal Affair and Criminal Symphony is a 1968 Italian/Argentinian international co-production crime comedy heist film produced and directed by and also starring a non-singing Rossano Brazzi.
Plot
Criminologist Ross Simpson seems to have everything that one could desire; the respect of his university students, being an author, and having a secret identity. The only thing Simpson doesn't have is a large amount of money. Simpson's secret identity involves planning what he regards as perfect crimes, however they fail due to the stupidity and bumbling of the criminals he recruits to carry out his secret schemes.
Plot
Criminologist Ross Simpson seems to have everything that one could desire; the respect of his university students, being an author, and having a secret identity. The only thing Simpson doesn't have is a large amount of money. Simpson's secret identity involves planning what he regards as perfect crimes, however they fail due to the stupidity and bumbling of the criminals he recruits to carry out his secret schemes.
Category
🎥
Short filmTranscript
00:00:00I'm going to have to get you out of here.
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00:00:30Inspector?
00:00:31Yes?
00:00:32Professor Ross.
00:00:33Yes, of course.
00:00:34That little jewelry store robbery
00:00:37will be taking place in just about 10 minutes.
00:00:40This better not be a false alarm.
00:00:42I assure you, Inspector, it will take place.
00:00:46Three notorious criminals.
00:00:49You'll want to catch them.
00:00:50All right.
00:00:51We'll look into the matter.
00:00:52Fine, Inspector.
00:00:54Good night, Inspector.
00:00:55Good night, Professor.
00:00:57Jimmy, listen to me.
00:00:58It would have been much better to blow off
00:01:01the door of the safe.
00:01:03And much easier.
00:01:05You're not going to help us, are you?
00:01:06No.
00:01:07No?
00:01:09I don't want to.
00:01:10I'll talk to the police.
00:01:11Don't worry about it.
00:01:14I'll take care of it.
00:01:17I'll take care of it.
00:01:18I'll take care of it.
00:01:21Don't do it.
00:01:22I'll do it.
00:01:23Don't do it.
00:01:24Don't do it.
00:01:25Don't do it.
00:01:26Don't do it.
00:01:27I'll do it.
00:01:28Don't do it.
00:01:29I'll tell them to go back inside.
00:01:30Get the keys.
00:01:31I'll get the keys.
00:01:33You too, go that way.
00:01:34I'll cover you.
00:02:03You too, go that way.
00:02:04I'll cover you.
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00:07:26Please!
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00:07:28Sweetheart!
00:07:29Please, I don't know what to say.
00:07:32Please, I told you, remember what I told you and this is what you're going to do to me.
00:07:41I'm going to cry.
00:07:42I'll never do this again.
00:07:44I'm going to hide.
00:07:46I'm going to kill myself.
00:07:48Why don't you care?
00:07:49more than a quarter of a million dollars.
00:07:53Maybe you've got something.
00:08:00Well, does anyone have anything to add on the subject?
00:08:08Susan?
00:08:10Well, I think it's a matter of ego, Professor.
00:08:14You've no doubt heard that behind every great man
00:08:15there's a woman.
00:08:18Of course.
00:08:19Well, it's my contention that behind
00:08:20every master criminal, there's a mother.
00:08:23Why don't you really steal something?
00:08:27Well, yes.
00:08:31Why not a brother?
00:08:33Or perhaps a father?
00:08:35No, no, there's always the possibility
00:08:36of a dormant sibling rivalry.
00:08:39Or, in the case of father, hidden jealousy.
00:08:42No, I'd have to say it would definitely be the mother.
00:08:45What about Fort Knox?
00:08:48Yes.
00:08:50Well, perhaps.
00:08:53Angela, would you like to comment?
00:08:56Well, I quite agree, Professor.
00:08:58As you brought out in your book, Crime, Pape, and How,
00:09:01a criminal has a psychological need
00:09:04to discuss his crime with someone.
00:09:06And it's usually this person who betrays him.
00:09:09The master criminal would not make this mistake.
00:09:12He would discuss it only with his mother.
00:09:14So you see, Mama, I have to give the jurors.
00:09:18Uh, yes.
00:09:20Well, oh, I see.
00:09:23We have come to the end of our session.
00:09:26Thank you, ladies.
00:09:27Class is dismissed.
00:09:31The party's tonight.
00:09:32It's gonna be eight o'clock.
00:09:34Bye-bye.
00:09:35You were marvelous, Professor.
00:09:36Thank you very much.
00:09:44Boy, oh boy, Ross.
00:09:46You son of a gun.
00:09:48Have you ever got it made?
00:09:49Why don't I get classes with all that talent?
00:09:53Has it occurred to you, Jones,
00:09:55that women are just not interested
00:09:57in squaring the hypotenuse?
00:09:59Well, anyway, that's a lie.
00:10:01If you're not in a hurry,
00:10:02I thought we might have lunch together.
00:10:04Thanks.
00:10:05I am expected.
00:10:06In the dance room.
00:10:08Crime, Pape, and How.
00:10:10Crime, Pape, and How.
00:10:14It's easier to steal and work for a living.
00:10:17Beautiful women make the best cooks.
00:10:20I ask you, gentlemen,
00:10:21how can we continue to tolerate this?
00:10:24That's all very well, my dear Dean,
00:10:26but may I remind you that this university
00:10:28is subsidized by the government,
00:10:30and the government says he's too famous to fire.
00:10:33Besides, unfortunately, these books have become textbooks
00:10:36on criminology throughout the world.
00:10:39I'm afraid, but it's his slant that's so damaging.
00:10:42I grant you, that's why I think
00:10:43Cunningham's suggestion is right.
00:10:45Let him write his next book
00:10:47with the slant that crime does not pay.
00:10:50I don't think he'll go for it.
00:10:52Unless we make it attractive enough.
00:10:54What man in his right mind
00:10:56would turn down a one year's paid vacation
00:11:00in a beautiful villa, in a beautiful place,
00:11:04with a beautiful girl assistant,
00:11:06an unlimited expense account, a chauffeured limousine?
00:11:11So you see, Mama, I am leaving for Buenos Aires.
00:11:14Ah!
00:11:15Ah!
00:11:39On the pretense of doing research
00:11:41for a book of criminology,
00:11:43I've taken a lovely villa in Buenos Aires.
00:11:46Ah!
00:11:47Ha, ha, ha, ha!
00:11:49I was fortunate enough to have assigned to me
00:11:51by the university, a beautiful student.
00:11:55You're as lovely as ever.
00:11:58I know what you like.
00:12:01I bet you hate being a prisoner, don't you?
00:12:03Correction.
00:12:06What a shame you have to be locked up all the time.
00:12:11A very beautiful student.
00:12:13Of course, she had no way of knowing
00:12:15that she was actually helping me
00:12:17to plan the greatest robbery of my career.
00:12:19One for me, one for me!
00:12:21Huh?
00:12:21One for me, one for me!
00:12:22Of course I have some for you.
00:12:23One for me!
00:12:24You're so pretty.
00:12:26Aw, dear.
00:12:30I won't hurt you.
00:12:33Don't be afraid.
00:12:34Ah!
00:12:39Ah!
00:12:40What's the matter with you, child?
00:12:40Something wrong?
00:12:41Uh, no, it's just that birds in cages make me sad.
00:12:45It's late.
00:12:46You should have been dressed by now.
00:12:47Five minutes.
00:12:48Good.
00:12:58Professor!
00:12:59Yes?
00:13:00Um, how much is a parakeet worth?
00:13:04It depends.
00:13:05Well, uh, like the one you have.
00:13:08You know, the purple and blue one.
00:13:09Are you talking about its sales value
00:13:12or its ornithological value?
00:13:15I just want to know the price of that parakeet, that's all.
00:13:17Don't call it a parakeet.
00:13:19It's a Melopsicatus varipintus.
00:13:22And it's perhaps the most interesting of all birds
00:13:24because of its hypocrisy.
00:13:26From the point of view of criminology, you see-
00:13:29Yes, yes, you told me all that,
00:13:30but its monetary value can be interesting, too.
00:13:36Can you hand me those pants over there?
00:13:41Thank you.
00:13:49Laetitia.
00:13:52How many times I told you that it's not proper
00:13:56for a student to undress in front of her professor?
00:14:00What's the difference?
00:14:02You never look anyway.
00:14:03Um, that's not the point.
00:14:06Besides, you always say you think of me as a daughter.
00:14:10You can turn around now.
00:14:14Button me up.
00:14:18How do you think the university would react
00:14:20if they discovered that I was botting up with the student
00:14:23that they assigned me to work on my book?
00:14:27I am working with you.
00:14:29Yes, but you weren't supposed to live here with me.
00:14:31I'm not a student.
00:14:33Yes, but you weren't supposed to live here with me.
00:14:37My landlady threw me out.
00:14:38I had nowhere else to go.
00:14:41Laetitia, you're such a naughty girl.
00:14:46How would you know?
00:14:51Oh, thank you.
00:14:55Well, how much is it?
00:14:57What?
00:14:57The parakeet.
00:14:58$1,000.
00:15:00$1,000?
00:15:00Sure, and the others are worth even more.
00:15:03That's why I wouldn't like it if anything happened to them.
00:15:06Um, try and finish at the museum.
00:15:10I need that list.
00:15:11For the success of my plan,
00:15:13I will need access to the opera house.
00:15:15And as luck would have it,
00:15:16the prima donna was an old love of mine.
00:15:19I could have anything I wanted at the opera house.
00:15:22These files contain the records of all thieves,
00:15:27crooks,
00:15:28murderers,
00:15:31and armed robbery specialists at large today.
00:15:35Argentine criminals are very clever.
00:15:40The best in the world.
00:15:42Good.
00:15:43The records are at your complete disposal.
00:15:46Thanks.
00:15:58The situation was beautiful.
00:16:00I had the perfect opportunity to select
00:16:02from these confidential files
00:16:04the finest criminals in Argentina.
00:16:14There was, however, one small problem
00:16:17with my latest escapade.
00:16:22Hi.
00:16:23I will need the documents.
00:16:25I have them in my office.
00:16:27Hi.
00:16:28I will need not only experienced thieves,
00:16:30but experienced thieves who were also musical.
00:16:42I had no way of knowing how difficult
00:16:43musical thieves were to find,
00:16:46but I was soon to find out.
00:16:50Go on, maestro.
00:16:54Sing.
00:16:55Sing.
00:16:56I don't sing.
00:16:57I steal.
00:16:59Sing.
00:17:01Les enfants de la patrie
00:17:06jour de gloire est arrivé
00:17:10contre nous de la...
00:17:13All right.
00:17:14Two more.
00:17:18Next.
00:17:22Not so rough.
00:17:27Sing.
00:17:31La donna è mobile
00:17:34quando si umma al vento
00:17:37mutta d'accento e di pensi
00:17:41la donna è mobile
00:17:43quando si umma al vento
00:17:46muc, muc, muc, muc.
00:17:48Part.
00:17:52Well, maestro,
00:17:53Well, Maestro, they are a bit nervous, but it's understandable.
00:17:57Out, I said.
00:17:58Please, Maestro, you'll be throwing them all out at this rate.
00:18:01I know they are not exactly prima donnas, but we must have someone for the job.
00:18:05Twelve at the job.
00:18:06I won't tolerate the art of singing to be profaned in this way.
00:18:12I'm Maestro Gonzales. I've spent ten years in the conservatory.
00:18:16And five in care for fraud.
00:18:18So don't be so damn noble. I like them.
00:18:21I resign.
00:18:22You'll continue with the examination.
00:18:25Until we get what we're after.
00:18:29I must leave.
00:18:31But I'll be watching you.
00:18:33With the telecamera.
00:18:53How do you do?
00:18:57You got the keys from Dr. Schwartz, huh?
00:18:59And you've come to ask about his excellency.
00:19:03Please.
00:19:05Come in.
00:19:07Interesting.
00:19:13His excellency, she's an awful lot of me.
00:19:18I'm ready.
00:19:22But please don't hurt me.
00:19:33What do you want to know about the minister?
00:19:37Well, it's a delicate subject.
00:19:40You can speak in front of Tiny.
00:19:42He's been with me for years.
00:19:44He's a very old friend.
00:19:46And besides, he's innocent.
00:19:52He had a hunting accident when he was very young.
00:19:55And it left him harmless.
00:19:57In every way, if you know what I mean.
00:20:09Now, the ambassador has a box at the Cologne Theater.
00:20:12Number 15.
00:20:13You know, he loves opera even more than he does women.
00:20:18Saturday night is the gala opening of La Traviata.
00:20:22I must have his box that night.
00:20:24That's like taking a baby from its mother.
00:20:26He never misses an opening.
00:20:28You'll have to miss this one.
00:20:32We'll meet tomorrow evening to go over the details.
00:20:357.30.
00:20:36Let's say 7.45.
00:20:387.30.
00:20:40Café de las Flores.
00:20:42You'll see a man there with three violets in his butthole.
00:20:46Follow him.
00:20:49And...
00:20:53Can you really make that much?
00:20:55Ah, you can.
00:20:57With your looks.
00:20:59Why?
00:21:23All right.
00:21:24That's it.
00:21:27Your legs.
00:21:28Come on.
00:21:29Me?
00:21:30Up there.
00:21:31Come on.
00:21:35Up there.
00:21:36Now, move your legs.
00:21:38Relax.
00:21:39Good.
00:21:40Dance.
00:21:41Control your figure.
00:21:42Be sexy.
00:21:43Be sexy.
00:21:44Good.
00:21:45Remember, blow up.
00:21:46The film, blow up.
00:21:47Yes.
00:21:48Your eyes.
00:21:49Widen your eyes.
00:21:50Like a tigress.
00:21:51Yes.
00:21:58Down.
00:21:59Good.
00:22:00Yes.
00:22:01Sexy.
00:22:05Good.
00:22:06Good.
00:22:07Good.
00:22:08Good.
00:22:09Good.
00:22:10Good.
00:22:11Good.
00:22:12Good.
00:22:14Come on.
00:22:15Come on.
00:22:16Sweat.
00:22:17Sweat.
00:22:18Fine.
00:22:20I'm doing my best, but I just can't manage to sweat.
00:22:32All right.
00:22:33Strip.
00:22:34What?
00:22:35For the sake of art.
00:22:39But your aunt said, in good taste.
00:22:41Well, strip in good taste.
00:22:44I'm sorry, but I can't do it.
00:22:48Okay, okay.
00:22:49Would $1,000 be in good enough taste?
00:22:57I took these pictures.
00:22:59I didn't think it was Fellini.
00:23:01I'm sure you have all been wondering what the job will be.
00:23:06I think now is the time to tell you.
00:23:08Well, what?
00:23:09This is our objective.
00:23:11The opera house.
00:23:14That singer, not bad.
00:23:17The Cologne theater.
00:23:19We are simply going to pull off the most sensational job of the year.
00:23:23No.
00:23:24The Cologne is the haven of lyric opera.
00:23:27It would be a sacrilege.
00:23:29A sacrilege that would give us a profit of $10 million.
00:23:34That's over a million apiece.
00:23:37Exactly.
00:23:39This was the opening night of AIDA.
00:23:42There was a capacity audience, as there will be at next week's opening of La Traviata.
00:23:46Which means a capacity audience of 2,850.
00:23:50The wealthiest people in Buenos Aires.
00:23:51Like a Christmas tree.
00:23:54You are right.
00:23:562,850 Christmas trees.
00:24:01Full of presents, all for us.
00:24:04Well, what do you say?
00:24:07Gentlemen.
00:24:09The professor has told me his plan.
00:24:12Brilliant.
00:24:14It's most brilliant.
00:24:15Brilliant or not, it's dangerous.
00:24:18I want a deposit or I won't move.
00:24:22I'm a professional.
00:24:24Jose is right.
00:24:25$10,000 by tomorrow or none of us go.
00:24:29All right.
00:24:40Well, gentlemen.
00:24:42Let's get down to work.
00:24:46We'll pull the job during the second act of La Traviata.
00:24:52Magnificent.
00:24:54It's so romantic.
00:24:56Gentlemen.
00:24:57Meet your Jake.
00:24:58Maestro Gonzalez.
00:25:00Antonio.
00:25:01Claude.
00:25:02Jose.
00:25:04As I was saying.
00:25:06We make our move.
00:25:07During the second act of La Traviata.
00:25:10And this is where you train.
00:25:13The job you require clockwork precision.
00:25:16Therefore, you are required to know the complete score.
00:25:19Backwards and forwards.
00:25:21In order to keep pace with the music.
00:25:24Maestro.
00:25:26Maestro.
00:25:28Come on.
00:25:29To work.
00:25:30We have no time to lose.
00:25:32All right.
00:25:33Second scene, gentlemen.
00:25:34Second scene.
00:25:35Second scene.
00:25:36All I can say is harmonica.
00:26:06Letizia.
00:26:07Verario.
00:26:08Letizia.
00:26:09Letizia.
00:26:10Verario.
00:26:35Letizia.
00:26:36Letizia.
00:26:37What happened?
00:26:38What have they done?
00:26:40Who was it?
00:26:41Tell me.
00:26:42Oh, yes.
00:26:43Of course.
00:26:44Well.
00:26:45Well.
00:26:46It was horrible.
00:26:47They tied me up.
00:26:48I didn't know they were going to let the water out.
00:26:51No.
00:26:52Were it for this.
00:26:53But who?
00:26:54I would have drowned.
00:26:56I would have drowned.
00:26:58I would have drowned.
00:26:59I would have drowned.
00:27:00I would have drowned.
00:27:01I would have drowned.
00:27:02I would have drowned.
00:27:03I would have drowned.
00:27:04I would have drowned.
00:27:05Who did it, Letizia?
00:27:06I don't know.
00:27:07There were three men.
00:27:08Three?
00:27:09Yeah.
00:27:10What did they want?
00:27:11They were looking for you.
00:27:12For me?
00:27:13Uh-huh.
00:27:14And then they found my safe.
00:27:17The safe?
00:27:22As usual.
00:27:23There is too much TNT.
00:27:25Do you know who they are?
00:27:27They robbed a jewelry store in Rome.
00:27:29And I was responsible for their arrest.
00:27:31The police didn't find the jewels,
00:27:33so they couldn't hold them for long.
00:27:35We'll have them under arrest again.
00:27:36No, no, no, no.
00:27:37I'll take care of it later.
00:27:39Well, what if they come back?
00:27:40Don't be afraid.
00:27:41I'll see to it that you are never left alone.
00:27:45By the way, would you please explain this to me?
00:27:50Oh, you like it?
00:27:51Do I like it?
00:27:54You should be ashamed of yourself, Letizia.
00:27:58But I did it for the parakeet.
00:28:02Well, that takes the price.
00:28:04Some girls do it to get in the movies.
00:28:06Some for money.
00:28:08But she does it for a bird.
00:28:09I'm not a moralist, but there is a limit to everything.
00:28:12I can't see anything wrong with buying a parakeet.
00:28:15I'm posing Newton for money.
00:28:18Do you think that's honest?
00:28:19I did it for you.
00:28:20Is that dishonest?
00:28:21What?
00:28:22Oh, yes.
00:28:23Yes.
00:28:24Sure.
00:28:26Professor, I think that you're jealous.
00:28:29Don't be ridiculous.
00:28:31It's just a matter of good taste.
00:28:34Mm-hmm.
00:28:35You mean that you'd have felt like this with any student
00:28:38that you'd work with?
00:28:40Of course.
00:28:56Where are we?
00:28:57At Mar del Plata.
00:28:59Come on, Letizia.
00:29:00We just have time to get dressed for the casino.
00:29:09The robber has left me in an embarrassing position.
00:29:12I am in the middle of an important business transaction.
00:29:14Any funds by tomorrow?
00:29:15Here.
00:29:19Thank you.
00:29:20Thank you very much.
00:29:21Thank you.
00:29:22Thank you.
00:29:23Thank you.
00:29:25Is this the way you raise money?
00:29:27But of course.
00:29:29Come.
00:29:34Letizia, I shouldn't be long.
00:29:36This will give you something to do while you wait for me.
00:29:39Oh, what do I do?
00:29:41You never played before?
00:29:42Mm-mm.
00:29:43That's it.
00:29:45Just put one of these on one of those numbers.
00:29:48And if the little ball lands on your number, you win.
00:29:51That's all?
00:29:52That's all.
00:29:53Just like one chip at a time.
00:29:56Maybe last longer that way.
00:29:58OK.
00:30:15Uh, excuse me.
00:30:16What was that you just bet on?
00:30:19Black and red.
00:30:20You bet on which color will come up.
00:30:22Oh, seems easier than the numbers.
00:30:30Hey, you won a lot.
00:30:32I bet four.
00:30:33I won four.
00:30:34Bet you win.
00:30:50Oh.
00:31:06I forgot to get to know you.
00:31:08I won.
00:31:20Dix.
00:31:21Noir.
00:31:22Pair.
00:31:23Monde.
00:31:25Dix-sept.
00:31:26Noir.
00:31:27Pair.
00:31:28Monde.
00:31:29Que.
00:31:30Noir.
00:31:31Pair.
00:31:32Monde.
00:31:33Vingt-deux.
00:31:34En plein.
00:31:35Chevalier.
00:31:36Carré.
00:31:37French.
00:31:41Look.
00:31:43He's won.
00:31:44Double.
00:31:51Silence, Maude.
00:31:52Don't be silly.
00:31:54Let's see.
00:31:55She started out with a dollar.
00:31:57That was the 15th black in a row.
00:31:59How much does that make?
00:32:01$2,000.
00:32:05Que.
00:32:06Noir.
00:32:07Pair.
00:32:08Monde.
00:32:12That's $64,000.
00:32:14Lady, be careful.
00:32:16Lady, did you hear that?
00:32:17$64,000.
00:32:18Uh-huh.
00:32:19Please take it off.
00:32:20Black will not keep coming up forever.
00:32:23Mm-hmm.
00:32:24Yes.
00:32:25Hey, teacher.
00:32:26What are you doing?
00:32:28I'm putting it all on red.
00:32:30You're right.
00:32:31Black can't not keep coming up forever.
00:32:38Belle croix rouge.
00:32:42Elle perd et passe.
00:33:07What are you doing?
00:33:08What?
00:33:09Why are you walking so strangely?
00:33:11I don't want to walk on the cracks and superstitious.
00:33:18Are you mad because I won and you didn't?
00:33:20No.
00:33:21It's just that I can't stand to see a woman gambling.
00:33:24It's unbecoming.
00:33:26I can't even look at one.
00:33:27But I did it for you.
00:33:28Especially when she wins.
00:33:30First you pose nude for me.
00:33:33And now you gamble for me.
00:33:36Do you think I can use this filthy money?
00:33:39If I keep it, it's just to give it to charity.
00:33:56No, no, no.
00:33:58I can understand being off-key.
00:34:00But this is too much.
00:34:02Nine, nine.
00:34:04These scoundrels are infantiles.
00:34:06I quit.
00:34:07Please, maestro.
00:34:08It's only necessary they keep time.
00:34:10I know.
00:34:11But these gentlemen are doing a different opera.
00:34:13I can't follow any longer.
00:34:25Come on.
00:34:26We'll start again from...
00:34:35All right now, men.
00:34:37Back to work.
00:34:43There.
00:34:44Now, gentlemen, we'll run over the scene of the departure.
00:34:48Flora and Violetta start.
00:34:55Alfredo, play.
00:34:56Now, Alfredo.
00:34:59We'll have an early dinner together.
00:35:01And then he shall be my guest at the performance.
00:35:05You said I could have your box Saturday.
00:35:08I said we'd talk about it.
00:35:10I'm sure another night will be just fine.
00:35:12Saturday.
00:35:13Saturday.
00:35:14Saturday.
00:35:15Saturday.
00:35:16Saturday.
00:35:17Saturday.
00:35:18Saturday.
00:35:19Saturday.
00:35:20Saturday.
00:35:21Saturday.
00:35:22Saturday.
00:35:23Saturday.
00:35:24Saturday.
00:35:25Saturday.
00:35:26Saturday.
00:35:28And a happy Sunday will be just fine.
00:35:30Saturday night.
00:35:32Oh, dear Chad, it's quite impossible.
00:35:35I haven't missed an opening night in ten years.
00:35:37It's one of my duties to be there.
00:35:39And beside that, La Traviata is my favorite opera.
00:35:41Really?
00:35:42Well, would you like to see my version?
00:35:45Your version?
00:35:47Sure.
00:35:49I know it all by heart.
00:35:54I'll show you my Camille number.
00:35:57I feel unwell, I need some rest.
00:36:27Hmm.
00:36:30His Excellency needs some rest.
00:36:57Miss Angelo.
00:37:01Oh boy, oh boy.
00:37:03I don't think the Russian envoy would enjoy the Traviata.
00:37:07Arrange for him to see...
00:37:10Oh, that's good enough.
00:37:18So your little parakeet friend came back.
00:37:21Yep, there he was, sitting on top of his cage this morning.
00:37:23And now we have two meloxicatus varipintus.
00:37:27Ah, Letizia.
00:37:29Ask the director to give you a diagram of the cellar too.
00:37:32Why?
00:37:33The cellar was used as a prison on Argentine jail.
00:37:37Bye-bye.
00:37:38So long.
00:37:46What is it now?
00:37:47The maestro's run off.
00:37:49We had a crisis.
00:37:50Maestro had gone berserk.
00:37:52Unable to stand the terrible singing,
00:37:54he was making a run for it,
00:37:56threatening to turn us in.
00:37:58We had to catch him.
00:38:21Help!
00:38:23He's going straight to his grave.
00:38:25Us too.
00:38:26Try to get him to understand.
00:38:29He's liable to kill himself.
00:38:32Maestro! Maestro!
00:38:34Wait, maestro.
00:38:35Come back.
00:38:36We'll sing better.
00:38:38Maestro!
00:38:39Maestro!
00:38:40Maestro!
00:38:41Maestro!
00:38:42Maestro!
00:38:43Maestro!
00:38:44Maestro!
00:38:45Maestro!
00:38:46Maestro!
00:38:47Maestro!
00:38:48Maestro!
00:38:49We'll sing better.
00:39:07Help!
00:39:08Maestro.
00:39:09Help!
00:39:10Come.
00:39:12No, no.
00:39:13Never!
00:39:14Never!
00:39:20To the health of the prodigal son.
00:39:23Thank you.
00:39:28Gentlemen,
00:39:30I've been persuaded to overlook
00:39:32certain of my prejudices about bel canto,
00:39:34so if you'll be good enough,
00:39:36please.
00:39:38Thank you.
00:39:40Thank you.
00:39:42Thank you.
00:39:43Thank you.
00:39:44Thank you.
00:39:45Thank you.
00:39:46Thank you.
00:39:47Thank you.
00:39:48Scene of the robbery.
00:40:06Anna!
00:40:07Darling!
00:40:08Victor!
00:40:09What's the matter?
00:40:10Thank heavens,
00:40:11at last I have someone who understands me.
00:40:14Don't listen to the conductor.
00:40:16That's evil's purpose.
00:40:17Oh, Victor, I'm so aggravated.
00:40:19The conductor is incompetent
00:40:21and the tenor thinks he's corrosive.
00:40:23I feel like walking out on the whole thing.
00:40:27And
00:40:29I feel you should invite me to dinner.
00:40:31You've been neglecting me these last few days.
00:40:36Tomorrow evening, after the premiere.
00:40:38Then we'll celebrate your success.
00:40:40All right?
00:40:41All right.
00:40:42Professor?
00:40:43Call for you.
00:40:44The Carmelite convent.
00:40:45Excuse me.
00:40:46One of those charities.
00:40:48You know.
00:40:49Yes.
00:40:50Hello.
00:40:51Hello, sir.
00:40:52Good work.
00:40:57He's got a special machine
00:40:59connected backstage to this box.
00:41:02Something the Germans invented.
00:41:04Some secret weapon.
00:41:06We'll be borrowing some electricity
00:41:07from your machine.
00:41:09Thanks.
00:41:10Hello?
00:41:11Yes?
00:41:12How are you, sister?
00:41:13Sister is exhausted.
00:41:15That's how.
00:41:18I haven't been out of this room for six days.
00:41:21But you'll be pleased to know
00:41:24that I've got the box for you.
00:41:26Excellent, sister.
00:41:27Excellent.
00:41:30Everything is to remain the same.
00:41:32Don't you worry.
00:41:34I've arranged to be here with him
00:41:36for as long as he would like.
00:41:41Cut it out, Pancho.
00:41:43My uncle calling.
00:41:44Long distance.
00:41:45To hell with your uncle.
00:41:48Back to work.
00:41:49Bye.
00:41:53Perfect.
00:41:55Good girl.
00:41:57You've made a really complete
00:41:58catalogue of the museum.
00:42:00Thank you.
00:42:02Now can we go to dinner?
00:42:03I'm starving.
00:42:04As soon as we finish our drinks.
00:42:06Just one more minute.
00:42:09I'm taking you to a really special place.
00:42:10The best food in all Buenos Aires.
00:42:12Can we dance there too?
00:42:13But of course.
00:42:14Oh, I'm so excited.
00:42:20Wow, he sure is built.
00:42:22Oh, Tiny.
00:42:24Where'd you find him?
00:42:26He was loaned to me by a close friend of mine.
00:42:29With Tiny around,
00:42:31no one will dare to touch you when I'm not here.
00:42:33No one will touch me, huh?
00:42:35Does that include Tiny?
00:42:37Whatever do you mean, Letizia?
00:42:38Aren't you afraid you might make a pass at me
00:42:40when you're not around?
00:42:41Oh, no.
00:42:42Impossible.
00:42:43How can you be so sure?
00:42:45Well,
00:42:47call it intuition.
00:42:49Shall we go?
00:42:50Okay.
00:42:51Um, excuse me.
00:43:01Hello?
00:43:04What?
00:43:05You can find yourself another job.
00:43:06You can find yourself another Violeta.
00:43:08Miss Terenzi, if you please.
00:43:10I've got Mr. Simpson on the line for you.
00:43:12Oh.
00:43:14At last, someone who understands.
00:43:16This can't go on like this.
00:43:18Oh, yes, perfectly.
00:43:19Only, what is it?
00:43:21I understand.
00:43:23But I'd say it's a hasty decision.
00:43:25No, Tiny.
00:43:27Something terrible is happening to me.
00:43:29Now, listen.
00:43:34We left in a hurry.
00:43:36And we will work everything out.
00:43:38Wonderful.
00:43:40Don't you worry.
00:43:41Bye.
00:43:50That table was for us.
00:43:52Yes, I know.
00:43:54But there's been a complication and...
00:43:56Who were you talking to?
00:43:57A girl?
00:43:58Of course not.
00:43:59Don't be silly.
00:44:00It was the publisher of my book.
00:44:02There seems to be a problem
00:44:04with the publication rights.
00:44:07Well, I must go.
00:44:08Will you come back for me later?
00:44:10No, the meeting will take some time.
00:44:12I have Tiny fix you something.
00:44:14I'll take you out tomorrow night, eh?
00:44:19Victor!
00:44:29Now, wouldn't you prefer a swim with me
00:44:32than an old business meeting?
00:44:34Tiny!
00:44:37Come on in.
00:44:38The water's fine.
00:44:41Senora.
00:44:43If you want me to, I will.
00:44:45But I think there's something you ought to know.
00:44:59Hello?
00:45:01Who is this?
00:45:02Oh, it's you.
00:45:04No, he's not around.
00:45:08But you can find him at the Piccadilly.
00:45:10Are you sure of that?
00:45:12If you're lying, we'll be back.
00:45:14And this time, we'll drown you for good.
00:45:28I want to thank you.
00:45:29Not just for myself,
00:45:31but on behalf of Mr. Vild.
00:45:33A traviata without you would be meaningless.
00:45:37I'll do it only for you.
00:45:40And if you'll stay near me,
00:45:42I'll be the greatest traviata in all history.
00:45:45I couldn't ask for more.
00:45:59Have you a reservation?
00:46:01No.
00:46:02We're looking for someone.
00:46:04You wanted Eve already.
00:46:06Yes, it's too crowded here.
00:46:10All right.
00:46:11$7.50, sir.
00:46:12Keep the change.
00:46:13Thank you.
00:46:14I'm sorry, sir.
00:46:16I'm sorry.
00:46:17I'm sorry.
00:46:18I'm sorry.
00:46:19I'm sorry.
00:46:20I'm sorry.
00:46:21I'm sorry.
00:46:22I'm sorry.
00:46:23I'm sorry.
00:46:24I'm sorry.
00:46:25I'm sorry.
00:46:26I'm sorry.
00:46:27I'm sorry.
00:46:29May I?
00:46:31Let's go.
00:46:54Publisher.
00:46:59Excuse me for just a moment.
00:47:05They are having dinner.
00:47:08I'll be right back.
00:47:09Excuse me.
00:47:17Well, if it isn't the professor.
00:47:19What happened?
00:47:20An accident?
00:47:22Yes.
00:47:24With the police.
00:47:26The night you double-crossed us.
00:47:29You won't get away with it.
00:47:31You won't get away with it.
00:47:33You know who did it?
00:47:35I don't know, sir.
00:47:37These guys are big fish.
00:47:39I don't know who they are, either.
00:47:43That's the way he is.
00:47:45He is a big guy.
00:47:48I don't know who he is, neither.
00:47:49He is a big guy.
00:47:51A good-hearted person.
00:47:52A smart man.
00:47:53He has all the qualities of a man.
00:47:55He is smart.
00:47:56Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh,
00:48:26We're ready, Chief.
00:48:52Go to the sewers that run from the cellar of the museum and make your way to the Cologne
00:48:57Theater and keep strictly to the schedule.
00:49:00Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh,
00:49:01oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh,
00:49:02oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh,
00:49:03oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh,
00:49:04oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh,
00:49:34oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh,
00:49:43oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh,
00:49:49oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh,
00:49:52oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh,
00:49:55oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
00:50:25Here's the diagram of the cellar. Professor? Professor? We're entering the cellar now.
00:50:40From now on you won't be able to communicate by radio. Any questions?
00:50:45Everything's fine. Then good luck.
00:50:49Schnell!
00:51:19We're here. If we want to get to the other side, we have to break through at this point.
00:51:25Achtung! Break through the gate!
00:51:40Katya!
00:51:49Katya!
00:51:52Katya!
00:51:55Katya!
00:51:58Katya!
00:52:02Ahhhh!
00:52:10Ahhhh!
00:52:16Ahh!
00:52:19Oh, come, you. Pick that up, you. Help them.
00:52:23Hurry. What are you waiting for, you incompetent dum gobs?
00:52:28Come!
00:52:31Verdammten Spaghetti Eaters!
00:52:37Blockheads!
00:52:40Still! Still!
00:52:58Help!
00:53:14May I help?
00:53:17Help!
00:53:19Sure!
00:53:24Dick!
00:53:29Ein.
00:53:31Zwei.
00:53:32Ein.
00:53:34Zwei.
00:53:39Two.
00:53:42One.
00:53:55Install the mirror.
00:53:59Install the mirror in the roses.
00:54:19Magnificent decoration.
00:54:21Yes, it's a real treat for the eye.
00:54:29Hey!
00:54:43Looks very thick. Where is the hammer?
00:54:48Are you sure we won't be flooded?
00:54:51Give me a hand instead of sitting up there doing nothing.
00:54:54What do you mean, doing nothing?
00:54:59We'll go over the score again.
00:55:01The professor told us to practice up to the last minute.
00:55:04Of course.
00:55:06Scene of the Torello.
00:55:29Hey! Hey! Hey!
00:55:41Mr. Spange?
00:55:49Hey, what's going on? That's La Traviata.
00:55:55It is La Traviata.
00:55:56But it starts tonight at nine.
00:55:59Something funny is going on down there.
00:56:27Gentlemen, we have five minutes more.
00:56:30And in five minutes, the bare highest the water can get is...
00:56:35Here.
00:56:37Dynamite.
00:56:42Here. That's above my head.
00:56:45I want to get out of here. I can't swim. I can't swim.
00:56:50Let me out. I want to get out of here.
00:56:53I can't swim.
00:56:55I can't swim.
00:57:02You call this taking a breath of fresh air?
00:57:05It was so nice dead too.
00:57:08Even the Lord took a rest on the sixth day.
00:57:10Seventh.
00:57:25I hope the professor will be punctual.
00:57:30Otherwise all of Buenos Aires will hear the explosion.
00:57:33Silence.
00:57:55If I could, I would go.
00:57:57Oh, Doc.
00:57:59No.
00:58:01Don't get nervous.
00:58:04But look, I can't do anything. I'm sorry.
00:58:09I'm swimming.
00:58:11I'm not going to die.
00:58:13I'm not going to die.
00:58:15I'm not going to die.
00:58:17I'm not going to die.
00:58:19I'm not going to die.
00:58:21I'm not going to die.
00:58:24I know how to swim.
00:58:25Come here. It's going to explode.
00:58:35Heads down!
00:58:53Gentlemen, allow me to introduce you to the Cologne Theater.
00:59:17This fireproof door leads to the chorus of the changing rooms.
00:59:22We shall go in, in three hours, when the opera begins.
00:59:29The chorus will be on stage then, and the dressing room will be empty.
00:59:35Gentlemen, break for lunch.
00:59:53This is a very important social occasion, ladies and gentlemen.
00:59:57A magnificent audience is pouring into the Cologne Opera House.
01:00:01The theater is marvelously decorated with thousands of artists.
01:01:22How is this full of police?
01:01:43Police everywhere.
01:01:50The place is full. What do we do?
01:01:54Don't move from there.
01:02:18This time you won't fool us.
01:02:21This time you may be sure, boys. I'll play ball.
01:02:34Please, I have my private life.
01:02:57Look, you're in for a cut of the profits.
01:03:00Now you have to trust me.
01:03:02I'll be back in a few minutes and then we'll go.
01:03:04Go where?
01:03:32Hello? Operator, I'd like to send a telegram.
01:03:45To whom, sir?
01:03:46Minister de Flores. Patagonia Avenue. Telephone 73-77-787. Urgent.
01:03:57Here is the message for him.
01:03:59What's he doing in there? I thought he was in such a hurry.
01:04:07X5.
01:04:08X5?
01:04:10Yes, the code number.
01:04:12Is that all?
01:04:13That's all.
01:04:14We'll take care of it, sir.
01:04:15Thanks.
01:04:19He likes it.
01:04:24It's beautiful.
01:04:26Well, are you ready?
01:04:28Ready? Ready for what?
01:04:30Dinner. You said last night that you'd take me out tonight.
01:04:33Oh, Letizia, I am very sorry, but it's impossible.
01:04:37What?
01:04:39Please forgive me. I forgot I have something to do.
01:04:42Oh, I bet you do.
01:04:45Letizia, wait. Letizia. Letizia, what's the matter with you?
01:04:51I'll tell you what's the matter with me. I saw your publishers last night.
01:04:55Letizia. Letizia, wait.
01:04:58And for a man, he sure was too funny.
01:05:04Stop. How dare you behave like this to your professor?
01:05:09Letizia, I can explain everything.
01:05:11You can never explain to me why you left me to go to dinner with that half-baked cream of tartar.
01:05:17Letizia, I swear on my honor, it was only a business deal last night.
01:05:21Okay. Okay.
01:05:23Then what are you doing tonight that's so important, huh?
01:05:25I'm going to the opera.
01:05:26Can I go with you?
01:05:27Well, yes. Oh, no. No. No. No.
01:05:29How was your singing tonight? Huh?
01:05:33As a matter of fact, it's true.
01:05:37How dare you? I am your professor. I am your professor.
01:05:51Wait.
01:06:03Hurry up. Get in.
01:06:06Close the door.
01:06:08I hope we didn't disturb your private life.
01:06:15Letizia.
01:06:19I hate you.
01:06:48Bye-bye.
01:06:55We take all the risk, and Professor takes most of the profits.
01:07:00No. No. No, he doesn't.
01:07:02I've talked to the others, and they're all in agreement.
01:07:06The professor's out.
01:07:09Yes. Right.
01:07:34Come in.
01:07:40A telegram.
01:07:41Don't bother me. I'm on a goodwill tour.
01:07:44The roses will bloom tonight.
01:07:47What does that matter to me? Tell it to the gardener.
01:07:49It's a decoded message from X5.
01:07:52It means that the dollar will be devalued.
01:07:55Ah.
01:07:57By 10%.
01:07:58What?
01:07:59Huh?
01:08:03Oh.
01:08:04Ah.
01:08:08Here.
01:08:13Oh.
01:08:17Telephone.
01:08:18And after this, please make a champagne.
01:08:24Brazilian ambassador, please.
01:08:26Hello, main east of the Florence.
01:08:30What?
01:08:34The grapevine says 10%.
01:08:37It will be at least 20%.
01:08:41I know those damn Yankees.
01:08:43Devalued by 50%, certainly.
01:08:47Maybe more.
01:08:49By 70%?
01:08:52By the Western economy is going to be ruined.
01:08:54My savings.
01:08:56My rubles.
01:08:58But before informing the president, check with the American embassy.
01:09:01We've tried, but there's no answer.
01:09:04Saturday.
01:09:05Ah.
01:09:20Everyone on stage for action.
01:09:24Oh, the power of the almighty dollar.
01:09:26It successfully removed the president and his most unwelcome police escort before the end of the intermission.
01:09:33My plan could now continue.
01:09:36Oh, the power of the Almighty Dover.
01:09:47He successfully removed the President and his most unwelcome police escort before the
01:09:51end of the intermission.
01:09:52My plan could now continue on schedule.
01:10:22Now.
01:10:52Shh.
01:10:53Change tools.
01:11:22Now.
01:11:23Now.
01:11:24Now.
01:11:25Now.
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01:17:00Now.
01:17:01Now.
01:17:02Now.
01:17:03Now.
01:17:04Now.
01:17:05Now.
01:17:06Now.
01:17:07Now.
01:17:08Now.
01:17:09Now.
01:17:10Now.
01:17:11Now.
01:17:12Now.
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01:17:33Now.
01:17:34Now.
01:17:35Now.
01:17:36Now.
01:17:37Now.
01:17:38Now.
01:17:39You, you tricked us again, you, you tricked us, you, you, you, you, you, you, you, you,
01:18:06you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you,
01:18:33you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you
01:19:03.
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01:25:49I'm sorry, but we've been ordered to check all passengers departing from Buenos Aires
01:26:17tonight.
01:26:18I know, I know, but it has to do with the robbery that took place at the Colón Theatre.
01:26:22But I'll miss my plane!
01:26:24Please!
01:26:28Excuse me, miss, I think I could help you.
01:26:31Oh, thank you.
01:26:34Could I have your passport?
01:26:36Here it is.
01:26:37It's only for a minute.
01:26:39All her baggage has been checked through except for a dozen parakeets.
01:26:42Parakeets? What are they for?
01:26:43I don't know.
01:26:44You know an apologist?
01:26:45Oh, yes!
01:26:47Do you have your clearances?
01:26:51Yes.
01:26:52Shot record?
01:26:53Very good.
01:26:54All in order.
01:26:55Thanks.
01:26:56Have a good flight.
01:26:57Your attention, please.
01:26:58Well, there you are, miss ornithologist.
01:26:59If you like, I'll escort you to your plane.
01:27:01Thank you.
01:27:02Boarding on flight 226.
01:27:04Thank you!
01:27:47Letizia!
01:27:49Victor!
01:27:54Letizia, the birds!
01:27:58The birds!
01:27:59Letizia, the birds!
01:28:00Leticia!
01:28:01Victor!
01:28:06Leticia!
01:28:07The birds!
01:28:09The birds!
01:28:11Leticia, the birds!
01:28:18The birds!
01:28:19The birds!
01:28:20They're free!
01:28:21Well, they're finally free!
01:28:23The birds!
01:28:26My birds!
01:28:30My birds!
01:28:34I have freedom!
01:28:38I have freedom!
01:28:42Would you forgive me, Victor?
01:28:46I have freedom, life!
01:28:48Literally!
01:28:49Life!
01:28:51And that's all I need.
01:28:55Leticia!
01:29:25I'm going to get you out of here.
01:29:27I'm going to get you out of here.
01:29:29I'm going to get you out of here.
01:29:31I'm going to get you out of here.
01:29:33I'm going to get you out of here.
01:29:35I'm going to get you out of here.
01:29:37I'm going to get you out of here.
01:29:39I'm going to get you out of here.
01:29:41I'm going to get you out of here.
01:29:43I'm going to get you out of here.
01:29:45I'm going to get you out of here.
01:29:47I'm going to get you out of here.
01:29:49I'm going to get you out of here.
01:29:51I'm going to get you out of here.
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