1968 Seven Men and One Brain HOT MILF MOVIE
1968 Seven Men and One Brain HOT MILF MOVIE
Category
🎥
Short filmTranscript
00:00:30Inspector, Professor 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, we'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.
00:00:59It would have been much better
00:01:01to blow off the door of the safe.
00:01:04And much easier.
00:01:07Jimmy, listen to me.
00:01:09It would have been much better
00:01:11to blow off the door of the safe.
00:01:13And much easier.
00:01:37Surround the place.
00:01:38You two go that way.
00:01:40I'll cover you.
00:02:06Jimmy!
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00:04:31But.
00:05:01The.
00:05:10But.
00:05:18But. But those stupid those fools come down you wake up the neighbor what's
00:05:26the matter well you know my my I try out practical experiments in the field for
00:05:30the university how I prove that my criminal theories really work yes but get
00:05:36a thank you mama well this time I had
00:05:39a perfect situation for a crook who should be in jail anyway I pull
00:05:44a perfect double cross the merchandise is returned and the theory is proven so
00:05:49what's the problem look thieves demolish a jewelry store in bed and robbery.
00:05:55Does it just use too much TNT they destroy the whole store. How can I admit I had
00:06:01anything to do with it now I'll have to pay to rebuild the old store.
00:06:11I guess I just have to keep the duos only my son would be worried that the only
00:06:17mama you don't understand. These duos are worth a quarter of a million dollars
00:06:24a quarter of a million dollars that's bad. You listen to me how long have I told
00:06:30you crime is like sex you don't waste time writing about it you do it look at you
00:06:36you're
00:06:36a master criminal for the university criminologist mama names titles what do they
00:06:43mean what do you got to show for it. You write books you're famous but you don't
00:06:50make any money even what you think you'll get back. Imagine if you had just kept
00:06:56ten percent of everything you stole. A little commission.
00:07:03You know that's impossible nothing is impossible why don't you really feel
00:07:08something for a change. What about your plan to have
00:07:14Fort Knox have some pizza mama. The Americans are my friends some friends if
00:07:21they were such good friends that are giving you back some of the gold all right
00:07:25maybe not Fort Knox what about your other plan which one. What do you mean which
00:07:31one the greatest robbery in the world the one in South America in Buenos Aires
00:07:38Oh mama that would be too costly people would have to be paid in advance many
00:07:44people it would take a great deal of seed money to finance. More than
00:07:50a quarter of a million dollars. Maybe you've got something.
00:08:00Well. Does anyone have anything to add on the subject.
00:08:08So that. Well well I think it's a matter of ego professor you've no doubt heard
00:08:14that behind every great man there's
00:08:16a woman. Because well it's my contention that behind every master criminal there's
00:08:22a mother why don't you really feel something. Well.
00:08:29Yes. Why not the brother. Or perhaps a father no no there's always
00:08:36a possibility of
00:08:36a dormant sibling rivalry or in the case of father in jealousy. No I have to say
00:08:43it would definitely be the mother what about Fort Knox. Yes.
00:08:50Well. Perhaps. Angela would you like to comment.
00:08:56Like quite
00:08:57a great professor as you put out in your book Crime Pays and how a criminal has
00:09:02a psychological need to discuss this crime. And it's usually this person who
00:09:07betrays. The master criminal would not make this mistake he would discuss it only
00:09:13with his mother so you see Mama I have to give it to us. Yes.
00:09:20Well. Oh I see. They come to the end of our session. Thank you ladies
00:09:27class is dismissed. I do not it's going to be a lot.
00:09:34You know. Thank you very much.
00:09:46For you for your. Son of a gun if you ever got it made why don't I get classes
00:09:52with all that. As it occurred to you Jones that women are just not interested in
00:09:59spreading the hypothesis well anyway that's why you're not in a hurry I thought we
00:10:04might have lunch together thanks I am expected in the day's room.
00:10:10Crime Pays and how. It's easy to see a work for a living.
00:10:16Beautiful women make the best cook. I asked you gentlemen how can we continue to
00:10:21tolerate this that's all very well my dear Dean but may I remind you that this
00:10:26university is subsidized by the government and the government says he's too famous to
00:10:31fire the side unfortunately these books become textbooks on criminology throughout
00:10:36the world yet but it's just grand that's so damaging I grant you that's why I think
00:10:42I grant you that's why I think Cunningham suggestion is right let him write his
00:10:46next book with the slant that crime does not pay. I don't think you'll go for it
00:10:52unless we make it attractive enough what man in his right mind would turn down a one
00:10:58year's paid vacation in
00:11:00a beautiful villa in a beautiful place with a beautiful girl assistant
00:11:06on unlimited expense account a chauffeured limousine so you see Mama I am
00:11:13living for bonanza.
00:11:37On the pretense of doing research for a book of criminology I take in a lovely
00:11:41villa in Buenos Aires.
00:11:46And was fortunate enough to have assigned to me by the university a beautiful
00:11:51student. You're as lovely as ever. I know what you like.
00:11:59I bet you hate being a prisoner don't you. Correction.
00:12:01What a shame you have to be locked up all the time.
00:12:06A very beautiful student. Of course she had no way of knowing that she was actually
00:12:12helping me to plan the greatest robbery of my career.
00:12:17Of course I have to for you. You're so pretty.
00:12:23Oh dear. I won't hurt you.
00:12:27Don't be afraid.
00:12:34What's the matter with you? Something wrong?
00:12:37No, it's just that birds in cages make me sad.
00:12:40It's late. You should have been dressed by now.
00:12:43Five minutes.
00:12:44Good.
00:12:57Professor. Yes.
00:13:00How much is a parakeet worth?
00:13:03It depends.
00:13:05Well, like the one you have. You know, the purple and blue one.
00:13:09Are you talking about its sales value or its ornithological value?
00:13:14I just want to know the price of that parakeet, that's all.
00:13:17Don't call it a parakeet. It's a Melopsicatus varipintus.
00:13:21And it's perhaps the most interesting of all birds because of its hypocrisy.
00:13:26From the point of view of criminology, you see...
00:13:28Yes, yes, you told me all that, but its monetary value can be interesting too.
00:13:36Can you hand me those pants over there?
00:13:39Letizia.
00:13:42How many times have I told you that it's not proper for a student to undress in front of her professor?
00:13:50What's the difference?
00:13:52You never look anyway.
00:13:54That's not the point.
00:13:59I don't understand.
00:14:01What's the difference?
00:14:03You never look anyway.
00:14:05That's not the point.
00:14:09Besides, you always say you think of me as a daughter.
00:14:14You can turn around now.
00:14:17Button me up.
00:14:21How do you think the university would react if they discovered that I was botting up with a student that they assigned me to work on my book?
00:14:30I am working with you.
00:14:32Yes, but you weren't supposed to live here with me.
00:14:36My landlady threw me out.
00:14:38I had nowhere else to go.
00:14:41Letizia, you're such a naughty girl.
00:14:45How would you know?
00:14:51Oh, thank you.
00:14:55Well, how much is it?
00:14:56What?
00:14:57The parakeet.
00:14:58$1,000.
00:14:59$1,000?
00:15:02Sure, and the others are worth even more.
00:15:05That's why I wouldn't like it if anything happened to them.
00:15:07Oh, try and finish at the museum.
00:15:11I need that list.
00:15:12For the success of my plan, I would need access to the opera house.
00:15:16And as luck would have it, the prima donna was an old love of mine.
00:15:20I could have anything I wanted at the opera house.
00:15:24These files contain the records of all thieves,
00:15:29crooks,
00:15:31murderers,
00:15:33and armed robbery specialists
00:15:36at large today.
00:15:38Argentine criminals are very clever.
00:15:42The best in the world.
00:15:43Good.
00:15:45The records are at your complete disposal.
00:15:48Thanks.
00:16:02The situation was beautiful.
00:16:04I had the perfect opportunity to select from these confidential files
00:16:08the finest criminals in Argentina.
00:16:18There was, however, one small problem with my latest escapade.
00:16:26Hi.
00:16:27I would need not only experienced thieves,
00:16:29but experienced thieves who were also musical.
00:16:40I had no way of knowing how difficult musical thieves were to find,
00:16:45but I was soon to find out.
00:16:48Go on, maestro.
00:16:52Sing.
00:16:54Sing.
00:16:55I don't sing.
00:16:56I steal.
00:16:57I steal.
00:16:59Sing.
00:17:13All right.
00:17:14Two more.
00:17:17Next.
00:17:22Mazora?
00:17:27Sing.
00:17:53Well, maestro,
00:17:55they are a bit nervous.
00:17:57It's understandable.
00:17:58Out, I said.
00:17:59Please, maestro.
00:18:00You'll be throwing them all out at this rate.
00:18:02I know they are not exactly prima donnas,
00:18:04but we must have someone for the job.
00:18:06Twelve at the job.
00:18:07I won't tolerate the art of singing
00:18:09to be profaned in this way.
00:18:13I'm maestro Gonzalez.
00:18:14I've spent ten years in the conservatory.
00:18:17And five in care for fraud.
00:18:19So don't be so damn noble.
00:18:21I like them.
00:18:22I resign.
00:18:23You'll continue with the examination
00:18:25until we get what we're after.
00:18:28I must leave.
00:18:30But I'll be watching you.
00:18:32With the telecamera.
00:18:34How do you do?
00:18:38You got the key from Dr. Schwarz?
00:18:41And you've come to ask about his Excellency?
00:18:43Yes.
00:18:44Very good.
00:18:46It's a good surprise.
00:18:48That's all.
00:18:49Thank you very much.
00:18:54Well, I don't think he's got a good idea,
00:18:56but perhaps it's better not to go.
00:18:58Maybe he's still out there doing the job.
00:19:00I've got it.
00:19:01And he's come to ask about His Excellency.
00:19:05Please, come in.
00:19:09Interesting.
00:19:14His Excellency sees an awful lot of me.
00:19:20I'm ready.
00:19:23But please don't hurt me.
00:19:32What do you want to know about the minister?
00:19:36Well, 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.
00:19:51He had a hunting accident when he was very young
00:19:54and it left him harmless.
00:19:56In every way, if you know what I mean.
00:19:59Now, the ambassador has a box at the Cologne Theater.
00:20:02Number 15.
00:20:04You know, he loves opera even more than he does women.
00:20:08Saturday night is the gala opening of La Traviata.
00:20:12I must have his box that night.
00:20:14That's like taking a baby from its mother.
00:20:16He never misses an opening.
00:20:18I'm sure he'll have it.
00:20:20I'm sure he'll have it.
00:20:22I'm sure he'll have it.
00:20:24I'm sure he'll have it.
00:20:25Taking a baby from its mother.
00:20:27He never misses an opening.
00:20:29He'll have to miss this one.
00:20:33We'll meet tomorrow evening to go over the details.
00:20:367.30.
00:20:38Let's say 7.45.
00:20:407.30.
00:20:42Café de las Flores.
00:20:44You'll see a man there with three violets in his butthole.
00:20:47Follow him.
00:20:49Um...
00:20:54Can you really make that much?
00:20:56Ah, you can.
00:20:58With your looks.
00:21:00Why?
00:21:19All right.
00:21:21That's it.
00:21:23Your legs.
00:21:25Come on.
00:21:27Up there, come on.
00:21:31Up there, up there.
00:21:33Now move your legs.
00:21:35Your legs.
00:21:37Good.
00:21:39Dance.
00:21:41Sexy.
00:21:43Come on.
00:21:45Come on.
00:21:46Hold your figure.
00:21:48Sexy. Be sexy.
00:21:53Good.
00:21:55Remember, blow up.
00:21:57The film, blow up.
00:21:59Yes. Your eyes. Widen your eyes.
00:22:01Like a tigress. Yes.
00:22:09Down.
00:22:11Good. Yes. Sexy.
00:22:13Come on.
00:22:15Come on. Sweat.
00:22:17Sweat. Fine.
00:22:19I'm doing my best, but I just can't manage to sweat.
00:22:31All right.
00:22:33Strip.
00:22:34What?
00:22:35For the sake of art.
00:22:38But your aunt said in good taste.
00:22:40Well, strip in good taste.
00:22:42Well, I'm sorry, but I can't do it.
00:22:46Okay, okay.
00:22:48Would a thousand dollars be in good enough taste?
00:22:56I took these pictures.
00:22:58I didn't think it was Fellini.
00:23:00I'm sure you've all been wondering what the job will be.
00:23:04I think now is the time to tell you.
00:23:07Well, what?
00:23:08This is our objective.
00:23:10The opera house.
00:23:13That singer, not bad.
00:23:16The Cologne theater.
00:23:18We are simply going to pull off the most sensational job of the year.
00:23:22No.
00:23:24The Cologne is the haven of lyric opera.
00:23:26It would be a sacrilege.
00:23:28A sacrilege that would give us a profit of $10 million.
00:23:33That's over a million apiece.
00:23:35Exactly.
00:23:37This was the opening night of AIDA.
00:23:39There was a capacity audience,
00:23:41as there will be at next week's opening of La Traviata.
00:23:44Yeah, which means a capacity audience of 2,850.
00:23:48The wealthiest people in Buenos Aires.
00:23:50Like a Christmas tree.
00:23:52You're right.
00:23:542,850 Christmas trees.
00:23:59Full of presents, all for us.
00:24:01Full of presents, all for us.
00:24:04Well, what do you say?
00:24:07Gentlemen, the professor has told me his plan.
00:24:11Brilliant.
00:24:13It's most brilliant.
00:24:15Brilliant or not, it's dangerous.
00:24:17I want a deposit or I won't move.
00:24:22I'm a professional.
00:24:24Jose is right.
00:24:26$10,000 by tomorrow or none of us go.
00:24:29All right.
00:24:32Well, gentlemen, let's get down to work.
00:24:38We'll pull the job during the second act of La Traviata.
00:24:44Magnificent.
00:24:46It's so romantic.
00:24:48Gentlemen, meet Georgette.
00:24:50Magnificent, isn't she?
00:24:52Yes, she is.
00:24:54She's so beautiful.
00:24:56She's beautiful.
00:24:58She's so beautiful.
00:24:59Gentlemen, meet Georgette.
00:25:01Maestro Gonzalez.
00:25:03Antonio.
00:25:05Claude.
00:25:07Jose.
00:25:09As I was saying, we make our move during the second act of La Traviata.
00:25:12And this is where you'll train.
00:25:15The job will require clockwork precision.
00:25:18Therefore, you are required to know the complete score.
00:25:21Backwards and forwards.
00:25:23In order to keep pace with the music.
00:25:26Maestro.
00:25:27Maestro.
00:25:29Come on, to work.
00:25:31We have no time to lose.
00:25:33All right, second scene, gentlemen.
00:25:35What's the second scene?
00:25:37All I can play is harmonica.
00:25:58Letizia!
00:26:12Letizia!
00:26:14Letizia!
00:26:16Letizia, where are you?
00:26:27Leticia!
00:26:29Leticia!
00:26:30What's happened?
00:26:31What have they done?
00:26:33Who was it, tell me.
00:26:37Oh yes, of course.
00:26:41Oh, what a horrible thing.
00:26:46They took my little one and left her in the curb.
00:26:53They tied me up! I didn't know they were going to let the water out!
00:26:58If it weren't for this, I would have drowned!
00:27:01But who? Who did it, Leticia?
00:27:03I don't know. There were three men.
00:27:05Three? What did they want?
00:27:08They were looking for you.
00:27:09For me?
00:27:10Uh-huh. And then, they found my safe.
00:27:14The safe?
00:27:19As usual.
00:27:22As usual. They use too much TNT.
00:27:25Do you know who they are?
00:27:27They robbed a jewelry store in Rome, and I was responsible for their arrest.
00:27:31The police didn't find the jewels, so they couldn't hold them for long.
00:27:35We'll have them under arrest again.
00:27:36No, no, no, no. I'll take care of it. Later.
00:27:39Well, what if they come back?
00:27:40Don't be afraid. I'll see to it that you are never left alone.
00:27:46By the way, would you please explain this to me?
00:27:50Do you like it?
00:27:51Do I like it?
00:27:54You should be ashamed of yourself, Leticia.
00:27:58But I did it for the parakeet.
00:28:02Well, that takes the place.
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 you for money.
00:28:18Do you think that's honest?
00:28:19I did it for you. Is that dishonest?
00:28:21What?
00:28:22Oh, yes, yes. Sure.
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.
00:28:35You mean that you'd have felt like this with any student that you'd work with?
00:28:40Of course.
00:28:50Where are we?
00:28:51At Mar del Plata.
00:28:53Come on, Leticia.
00:28:54We just have time to get tested for the casino.
00:29:03The robber has left me in an embarrassing position.
00:29:06I'm in the middle of an important business transaction,
00:29:08and in five minutes, I'm going to be fired.
00:29:11You're going to be fired?
00:29:12Yes.
00:29:13You're going to be fired?
00:29:14Yes.
00:29:15You're going to be fired?
00:29:16Yes.
00:29:17I'm in the middle of an important business transaction,
00:29:19and it ends by tomorrow.
00:29:20Here.
00:29:23Thank you.
00:29:25Is this the way you raise money?
00:29:27But of course.
00:29:29Come.
00:29:34Leticia, I shouldn't be long.
00:29:37This will give you something to do while you wait for me.
00:29:39What do I do?
00:29:41You never played before?
00:29:43It's...
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.
00:29:54Just bet one chip at a time.
00:29:56It will last longer that way.
00:29:58Okay.
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.
00:30:45Bet you win.
00:31:06Glad to get to know you.
00:31:08I won.
00:31:1535, black, and pair and pass.
00:31:2010, black, and pair and move.
00:31:2417, black, and pair and move.
00:31:2715, black, and pair and move.
00:31:29Good game, gentlemen.
00:31:31The games are over.
00:31:3322, in the middle of the square.
00:31:40Look.
00:31:43He's won.
00:31:44He's won.
00:31:54Silence, Morgan.
00:31:55Don't be silly.
00:31:57Let's see.
00:31:58She started out with a dollar.
00:32:00That was 15 black in a row.
00:32:02How much does that make?
00:32:04$3,000.
00:32:072, black, pair and move.
00:32:14That's $64,000, lady.
00:32:18Be careful.
00:32:19Leticia, did you hear that?
00:32:20$64,000.
00:32:22Uh-huh.
00:32:22Please take it off.
00:32:23Black and not keep coming up forever.
00:32:27Mm-hmm.
00:32:28Yes.
00:32:29Leticia, what are you doing?
00:32:32I'm putting it all on red.
00:32:34You're right.
00:32:35Black and not keep coming up forever.
00:32:36Forever.
00:32:37Forever.
00:33:07What are you doing?
00:33:09What?
00:33:09Why are you walking so strangely?
00:33:11I don't want to walk on the cracks.
00:33:12I'm superstitious.
00:33:18Are you mad because I won and you didn't?
00:33:21No.
00:33:22It'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.
00:33:29Especially when she wins.
00:33:31First, you posed nude for me.
00:33:34And now you gamble for me.
00:33:36Do you think I can use this filthy money?
00:33:40If I keep it, it's just to give it to charity.
00:33:57No, no, no.
00:33:59I can understand being off key.
00:34:01But this is too much.
00:34:04No, no.
00:34:05These scoundrels are infantiles.
00:34:07I quit.
00:34:08Please, maestro.
00:34:10It's only necessary they keep time.
00:34:12I know.
00:34:12But these gentlemen are doing a different offer.
00:34:15I can't follow any longer.
00:34:27Come on.
00:34:27We'll start again from.
00:34:34All right, now, men.
00:34:36Back to work.
00:34:37Yes, ma'am.
00:34:42There.
00:34:43Now, gentlemen, we'll run over the scene of the departure.
00:34:47Flora and Violetta start.
00:34:50We'll have an early dinner together.
00:34:52And then he shall be my guest, my fiancée.
00:34:55Oh.
00:34:57Good luck.
00:34:58Right.
00:34:59That's it.
00:35:02Then I'll play the violin.
00:35:04I'll play the flute.
00:35:05I'll play the accordion.
00:35:07I'll play the cello.
00:35:07I'll play the piano.
00:35:08No, no, no.
00:35:09I'll play the violin.
00:35:10I'll play the piano.
00:35:11No, no, no.
00:35:12I'll play the cello.
00:35:13I'll play the piano.
00:35:14No, no, no.
00:35:15No, no, no, no.
00:35:16Well, won't you?
00:35:17What did you say?
00:35:18You'll be my guest at the performance.
00:35:22You said I could have your box Saturday.
00:35:24I said we'd talk about it.
00:35:26I'm sure another night will be just...
00:35:28Saturday night.
00:35:30Oh, dear, Chad, it's quite impossible.
00:35:32I haven't missed an opening night in 10 years.
00:35:34It's one of my duties to be there,
00:35:36and besides, La Traviata's my favorite opera.
00:35:38Really?
00:35:39Well, would you like to see my version?
00:35:42Your version?
00:35:44Sure.
00:35:46I know it all by heart.
00:35:51I'll show you my Camille number.
00:36:17Miss Aguilar, I feel unwell.
00:36:19I need some rest.
00:36:21Hmm.
00:36:24His Excellency needs some rest.
00:36:46Miss Aguilar.
00:37:04Oh, boy, oh, boy.
00:37:06I don't think the Russian envoy would enjoy La Traviata.
00:37:10Arrange for him to see...
00:37:13Oh, that's good enough.
00:37:21So your little barricade friend came back.
00:37:23Yep, there he was, sitting on top of his cage this morning.
00:37:26And now we have two meloxicatus varipintus.
00:37:31Ah, Letizia.
00:37:33Ask the director to give you a diagram of the cellar, too.
00:37:35Why?
00:37:36The cellar was used as a prison on Argentine jail.
00:37:40Bye-bye.
00:37:41So long.
00:37:49What is it now?
00:37:50The maestro's run off.
00:37:52We had a crisis.
00:37:54Maestro had gone berserk.
00:37:55Unable to stand the terrible singing,
00:37:57he was making a run for it,
00:37:58threatening to turn us in.
00:38:00We had to catch him.
00:38:31He's going straight to his grave.
00:38:33Us, too.
00:38:34Try to get him to understand.
00:38:37He's liable to kill himself.
00:38:40Maestro!
00:38:41Maestro!
00:38:42Wait, maestro.
00:38:43Come back.
00:38:44We'll sing better.
00:38:58Maestro?
00:39:07Help!
00:39:08Come.
00:39:09No, no.
00:39:10Never!
00:39:11Never!
00:39:13Never!
00:39:14Never!
00:39:31To the health of the prodigal son.
00:39:34Thank you.
00:39:39Gentlemen, I've been persuaded to overlook
00:39:42certain of my prejudices about bel canto,
00:39:45so if you'll be good enough, please.
00:39:49Scene of the robbery.
00:39:57Anna!
00:39:58Darling!
00:39:59Victor!
00:40:00What's the matter?
00:40:01Thank heavens at last I have someone who understands me.
00:40:06Don't listen to the conductor.
00:40:08That's evil's purpose.
00:40:10Oh, Victor, I'm so aggravated.
00:40:12The conductor is incompetent,
00:40:14and the tenor thinks he's corrosive.
00:40:16I feel like walking out on the whole thing.
00:40:20And I feel you should invite me to dinner.
00:40:23You've been neglecting me these last few days.
00:40:27Tomorrow evening, after the premiere.
00:40:30Then we'll celebrate your success.
00:40:32All right?
00:40:33All right.
00:40:34Professor?
00:40:35Call for you.
00:40:36The Carmelite convent.
00:40:38Excuse me.
00:40:39One of those charities.
00:40:40Yes.
00:40:41You know.
00:40:42Yes.
00:40:43Yes.
00:40:44Yes.
00:40:45Yes.
00:40:46Yes.
00:40:47One of those charities.
00:40:48Yes.
00:40:49You know.
00:40:50Yes.
00:40:51Hello.
00:40:52Hello, sir.
00:40:53Good work.
00:40:58He's got a special machine connected backstage to this box.
00:41:03Something the Germans invented.
00:41:04Some secret weapon.
00:41:06We'll be borrowing some electricity from 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 that I've got the box for you.
00:41:27Excellent, sister.
00:41:28Excellent.
00:41:30Everything is to remain the same.
00:41:32Don't you worry.
00:41:34I've arranged to be here with him for 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.
00:41:48It's back to work.
00:41:49Bye.
00:41:53Perfect.
00:41:54Good girl.
00:41:57You've made a really complete catalog of the museum.
00:42:00Thank you.
00:42:01Now can we go to dinner?
00:42:02I'm starving.
00:42:03As soon as we finish our drinks.
00:42:05Just one more minute.
00:42:09I'm taking you to a really special place.
00:42:12The best food in all Buenos Aires.
00:42:14Can we dance there too?
00:42:15But of course.
00:42:16Oh, I'm so excited.
00:42:22Wow, he sure is built.
00:42:24Oh, Tiny.
00:42:26Where'd you find him?
00:42:28He was loaned to me by a close friend of mine.
00:42:31With Tiny around, no one will dare to touch you when I'm not here.
00:42:34No one will touch me, huh?
00:42:36Does that include Tiny?
00:42:38Whatever do you mean, Letizia?
00:42:40He might make a pass at me when you're not around.
00:42:42Oh, no.
00:42:43Impossible.
00:42:44How can you be so sure?
00:42:46Well, uh, call it intuition.
00:42:50Shall we go?
00:42:51Okay.
00:42:52Um, excuse me.
00:43:03Hello?
00:43:05What?
00:43:06You can find yourself another Violeta.
00:43:08Miss Terenzi, if you please.
00:43:09I'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.
00:43:17All right, quick.
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.
00:43:25Johnny, something terrible is happening to me.
00:43:29Now, listen.
00:43:35We'll have dinner, and we will work everything out.
00:43:38Wonderful.
00:43:39Don't you worry.
00:43:40Bye.
00:43:50That table was for us.
00:43:52Yes, I know.
00:43:53But there has been a complication, and...
00:43:55Who were you talking to?
00:43:56A girl?
00:43:57Of course not.
00:43:58Don't be silly.
00:43:59It was the publisher of my book.
00:44:02There seems to be a problem with the publication rights.
00:44:07Well, I must go.
00:44:08Will you come back for me later?
00:44:09No, the meeting will take some time.
00:44:12I have time to fix you something.
00:44:14I'll take you out tomorrow night, eh?
00:44:19Victor!
00:44:29Now!
00:44:30Wouldn't you prefer a swim with me than an old business meeting?
00:44:34Tiny!
00:44:37Come on in.
00:44:38The water's fine.
00:44:41Señora, if 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?
00:45:05Oh, it's you.
00:45:07No, he's not around.
00:45:11But you can find him at the Piccadilly.
00:45:13Are you sure of that?
00:45:15If you're lying, we'll be back.
00:45:18And this time, we'll drown you for good.
00:45:30I want to thank you.
00:45:32Not just for myself, but on behalf of Mr. Bill.
00:45:36A traviata without you would be meaningless.
00:45:40I'll do it only for you.
00:45:43If you'll stay near me, I'll be the greatest traviata in all history.
00:45:47I couldn't ask for more.
00:46:14Have you a reservation?
00:46:16No.
00:46:17We're looking for someone.
00:46:19You want to leave already?
00:46:20Yes, it's too crowded here.
00:46:24All right.
00:46:25$7.50, sir.
00:46:26Keep your change.
00:46:27Thank you, sir.
00:46:28May I?
00:46:30Let's go.
00:46:43Publisher.
00:46:59Excuse me for just a moment.
00:47:05They're 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.
00:47:23With the police.
00:47:25The 90th double-crosser.
00:47:44I'm not hollow.
00:48:14I'm not hollow.
00:48:42We're ready, chief.
00:48:52Enter the sewers that run from the cellar of the museum
00:48:55and make your way to the Cologne Theater.
00:48:58And keep strictly to the schedule.
00:49:23Ready?
00:49:54What's in it?
00:49:55Rustic dynamite.
00:49:56Careful.
00:49:57You might set it off.
00:49:58And it'll ping.
00:49:59You're through.
00:50:00Sieg Heil.
00:50:01They haven't caught the boarmen yet, have they?
00:50:03Here's the diagram of... of... of... of the cellar.
00:50:22Professor?
00:50:23Oh.
00:50:24Professor?
00:50:25We're entering the... the... the cellar now.
00:50:26From now on, you won't be able to communicate by radio.
00:50:27Any questions?
00:50:28Everything's fine.
00:50:29Then good luck.
00:50:30Schnell.
00:50:31Yes.
00:50:33Professor?
00:50:34Oh.
00:50:35Professor?
00:50:36We're entering the... the... the... the cellar now.
00:50:37From now on, you won't be able to communicate by radio.
00:50:38Any questions?
00:50:39Everything's fine.
00:50:40Then good luck.
00:50:41Schnell.
00:50:42Yes.
00:50:44Professor?
00:50:45Oh.
00:50:46Professor?
00:50:47We're entering the... the... the... the... the cellar now.
00:50:48From now on, you won't be able to communicate by radio.
00:50:49Any questions?
00:50:50Everything's fine.
00:50:51Then good luck.
00:50:52Schnell.
00:50:53Yes.
00:51:24Oh.
00:51:25Professor?
00:51:26We're entering the... the... the... the... the... the... the... the... the... the... the...
00:51:27the... the... the... the... the... the... the... the... the... the... the... the... the... the...
00:51:28the... the... the... the... the... the... the... the... the... the... the... the... the... the...
00:51:29the... the... the... the... the... the... the... the... the... the... the... the... the... the... the...
00:51:30the... the... the... the... the... the... the... the... the... the... the... the... the... the... the... the...
00:51:31the... the... the... the... the... the... the... the... the... the... the... the... the... the... the... the... the...
00:51:33the... the... the... the... the... the... the... the... the... the... the... the... the... the... the...
00:51:42the... the... the... the... the... the... the... the... the... the... the... the... the... the... the...
00:51:53the... the... the... the... the... the... the... the... the... the... the... the... the... the... the...
00:52:02the... the... the... the... the... the...
00:52:06the... the... the... the... the...
00:52:19Take that job. Help them! Hurry!
00:52:24What are you waiting for, you incompetent dun combining.
00:52:27Come! Come!
00:52:31Verdammten Spaghetti Eaters!
00:52:37Du erkennst!
00:52:40Still! Still!
00:52:57Help me!
00:53:13May I help you?
00:53:17Help me!
00:53:19Sure!
00:53:23Six!
00:53:28Ein!
00:53:30Zwei!
00:53:32Ein!
00:53:34Zwei!
00:53:39Two!
00:53:41One!
00:53:44Install the mirror.
00:53:49Install the mirror in the roses.
00:54:13Magnificent decoration.
00:54:15Yes, it's a real treat for the eye.
00:54:23Oh!
00:54:25Oh!
00:54:27Oh!
00:54:29Oh!
00:54:31Oh!
00:54:33Oh!
00:54:35Oh!
00:54:37Oh!
00:54:39Oh!
00:54:42Looks very thick.
00:54:44Where 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?
00:55:01We'll go over the score again.
00:55:03The professor told us to practice up to the last minute.
00:55:06Proceed.
00:55:08Scene of the toredo.
00:55:12In Madrid we are murderers.
00:55:15We are on the prowl in search of flowers.
00:55:18We have come to plunder the old man.
00:55:21We want to use him as bait.
00:55:23And we want to kill him.
00:55:26Spanish?
00:55:38Spanish?
00:55:46Hey, what's going on?
00:55:48That's La Traviata.
00:55:52It is La Traviata.
00:55:54It is La Traviata.
00:55:56But it starts tonight at nine.
00:55:59Something funny is going on down there.
00:56:24Gentlemen, we have five minutes more.
00:56:27And in five minutes the bare highest the water can get is...
00:56:33Here.
00:56:35Dynamite.
00:56:41Here, just above my head.
00:56:44I want to get out of here.
00:56:46I can't swim. I can't swim.
00:56:48Let me out. I want to get out of here.
00:56:51I can't swim.
00:56:53Let me out. I want to get out of here.
00:56:55Let me out. I can't swim.
00:56:57And that concludes our program of light music.
00:57:00The sound of the tone, it will be exactly...
00:57:03You call this taking a breath of fresh air?
00:57:06It was so nice dead, too.
00:57:08Even the Lord took a rest on the sixth day.
00:57:11Seventh.
00:57:22I hope the professor will be punctual.
00:57:25Otherwise all the Buenos Aires will hear the explosion.
00:57:28Silence.
00:57:34I'm sorry.
00:57:36I'm sorry.
00:57:38I'm sorry.
00:57:40I'm sorry.
00:57:42I'm sorry.
00:57:44I'm sorry.
00:57:46I'm sorry.
00:57:48I'm sorry.
00:58:07If I could, I would go.
00:58:12No, don't get nervous.
00:58:15Look, I can't do anything. I'm sorry.
00:58:20I'm swimming.
00:58:22I know how to swim.
00:58:24Come here. It's going to explode.
00:58:34Head down.
00:58:44Head down.
00:59:11Gentlemen.
00:59:13Allow me to introduce you to the Cologne Theater.
00:59:16This fireproof door leads to the chorus of the changing rooms.
00:59:21We shall go in.
00:59:23In three hours.
00:59:25And the opera begins.
00:59:27Why then?
00:59:29The chorus will be on stage then.
00:59:32And the dressing room will be empty.
00:59:35Gentlemen, break for lunch.
00:59:37All right.
00:59:44This is a very important social occasion, ladies and gentlemen.
00:59:48A magnificent audience is pouring into the Cologne Opera House.
00:59:52The theater is marvelously decorated with thousands of artists.
01:00:43THE END
01:01:13THE END
01:01:16THE END
01:01:41How is it full of police?
01:01:47Police everywhere.
01:01:49The place is full.
01:01:51What do we do?
01:01:53Don't move from there.
01:02:17This time you won't fool us.
01:02:20This time you may be sure, boys. I'll play ball.
01:02:33And everything is quiet.
01:02:47Please. I have my private life.
01:02:53Look.
01:02:55You're in for a cut of the profits.
01:02:57Now you have to trust me.
01:02:59I'll be back in a few minutes and then we'll go.
01:03:01Go where?
01:03:04Gentlemen.
01:03:06Have you ever been to the opera?
01:03:16THE END
01:03:42Hello? Operator, I'd like to send a telegram.
01:03:45To whom, sir?
01:03:47Minister de Flores.
01:03:49Patagonia Avenue.
01:03:51Telephone 7-3-7-7-7-8-7.
01:03:56Urgent.
01:03:58Here is the message for him.
01:04:00What's he doing in there? I thought he was in such a hurry.
01:04:08X-5.
01:04:10X-5?
01:04:12Yes. A code number.
01:04:14We'll take care of it, sir.
01:04:20She 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.
01:04:35I'm 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.
01:04:47Letizia.
01:04:49Letizia, what's the matter with you?
01:04:51I'll tell you what's the matter with me.
01:04:53I saw your publisher last night.
01:04:55Letizia.
01:04:57Letizia, wait.
01:04:59And for a man, he sure was too funny.
01:05:04Stop.
01:05:06How dare you behave like this to your professor?
01:05:08Letizia, I can explain everything.
01:05:11You can never explain to me why you left me for...
01:05:13to go to dinner with that half-baked cream of tartar.
01:05:16Letizia.
01:05:18I 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.
01:05:29How was your singing tonight? Huh?
01:05:32As a matter of fact, it's true.
01:05:36How dare you?
01:05:38I'm your professor.
01:05:40I'm your professor.
01:06:02Hurry up.
01:06:04Get in.
01:06:06Close the door.
01:06:08I hope we didn't disturb your private life.
01:06:14Letizia!
01:06:18I hate you!
01:06:38I hate you!
01:06:40I hate you!
01:06:42I hate you!
01:06:46Good afternoon, sir.
01:06:48Goodbye.
01:06:50Goodbye.
01:06:55We take all the risk and the 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.
01:07:33I'm in.
01:07:37A telegram.
01:07:39Don't bother me. I'm on a goodwill tour.
01:07:42The roses will bloom tonight.
01:07:45What does that matter to me? Tell it to the gardener.
01:07:48It's a decoded message from X5.
01:07:51It means that the dollar will be devalued.
01:07:54Ah.
01:07:55By 10%.
01:07:57What?
01:07:58Huh?
01:08:02Oh!
01:08:03Ah!
01:08:04Ah!
01:08:09Here.
01:08:13Oh.
01:08:17Telephone.
01:08:18And after this, please make a champagne.
01:08:24Brazilian Ambassador, please.
01:08:26Hello, Minister de Flores.
01:08:29What?
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.
01:08:57But before informing the President, check with the American Embassy.
01:09:00We've tried, but there's no answer.
01:09:03Saturday.
01:09:04Ah.
01:09:19Everyone on stage for act two.
01:09:22Everyone on stage for act two.
01:09:27Oh.
01:09:44Oh, the power of the almighty dollar.
01:09:46It successfully removed the President
01:09:48and his most unwelcome police escort
01:09:50before the end of the intermission.
01:09:52My plan could now continue on schedule.
01:09:57Oh.
01:10:27Now.
01:10:53Change tools.
01:10:57Change tools.
01:10:58Change tools.
01:10:59Change tools.
01:11:00Change tools.
01:11:01Change tools.
01:11:02Change tools.
01:11:03Change tools.
01:11:04Change tools.
01:11:05Change tools.
01:11:06Change tools.
01:11:07Change tools.
01:11:08Change tools.
01:11:09Change tools.
01:11:10Change tools.
01:11:11Change tools.
01:11:12Change tools.
01:11:13Change tools.
01:11:14Change tools.
01:11:15Change tools.
01:11:16Change tools.
01:11:17Change tools.
01:11:18Change tools.
01:11:19Change tools.
01:11:20Change tools.
01:11:21Change tools.
01:11:22Change tools.
01:11:23Change tools.
01:11:24Change tools.
01:11:25Change tools.
01:11:26Change tools.
01:11:27Change tools.
01:11:28Change tools.
01:11:29Change tools.
01:11:30Change tools.
01:11:31Change tools.
01:11:32Change tools.
01:11:33Change tools.
01:11:34Change tools.
01:11:35Change tools.
01:11:36Change tools.
01:11:37Change tools.
01:11:38Change tools.
01:11:39Change tools.
01:11:40Change tools.
01:11:41Change tools.
01:11:42Change tools.
01:11:43Change tools.
01:11:44Change tools.
01:11:45Change tools.
01:11:46Change tools.
01:11:47Change tools.
01:11:48Change tools.
01:11:49Change tools.
01:11:50Change tools.
01:11:51Change tools.
01:11:52Change tools.
01:11:53Change tools.
01:11:54Change tools.
01:11:55Change tools.
01:11:57Change tools.
01:11:58Change tools.
01:11:59Change tools.
01:12:00Changes tools."
01:12:01Ok.
01:12:02Pause.
01:12:03Whiskey.
01:12:04Lisa.
01:12:05Oh
01:12:35Oh
01:13:05I
01:13:27Never enjoyed anything so much
01:13:35Oh
01:14:05Oh
01:14:35Oh
01:14:58What's that thing we must steal some electricity then you'll see what happens
01:15:05Oh
01:15:35Oh
01:16:05Oh
01:16:25You said 70% of the people would be pumped out but people hide it you know idiots
01:16:35Oh
01:17:05Oh
01:17:35Oh
01:17:54You you tricked us again you you tricked us
01:18:05You
01:18:35You
01:19:05You
01:19:35You
01:20:05You
01:20:35Oh
01:21:05Oh
01:21:35Oh
01:21:57Idiots
01:21:59You thought you were so clever I timed them perfectly I
01:22:04Have one more canister than you
01:22:34Oh
01:22:59Good night everyone
01:23:04You
01:23:19Ladies and gentlemen, we interrupt this program to give you the latest bulletin on the incredible robbery at the Cologne theater
01:23:25Is that cause of the great fleet which?
01:23:292,850 spectators woke up early this morning completely stripped of their possessions and valuables is not known yet
01:23:35The only explanation so far was given by police medical authority
01:23:40They suggested that an excessive lack of hydrogen in the air could produce the surplus of oxygen
01:23:45Causing giddiness and eventually exhaustion and sleep
01:23:48This might explain the presence of a peculiar device attached to the air ventilating system something like a pump
01:23:59Yeah
01:24:08Come
01:24:12Take it yeah, yeah
01:24:20Please wait your turn
01:24:26Yeah
01:24:28Yes, I know, but it would make you feel better you have to get up now you must get dressed
01:24:37Your plane leaves in two hours
01:24:45You passed out at the opera during the second act you caused the because by the confusion I did
01:24:52Fortunately, I saw you I brought you home
01:24:55You have to hurry the plane would wait
01:25:00Please don't send me away. I'm not sending you away. It's only for a very short time
01:25:25All right, I have a small cottage in Switzerland just outside Zurich a
01:25:30Place to forget about criminology. You mean I have to go home. I join you there
01:25:36It's just for a few hours
01:25:39And we'll be together as long as you want
01:25:55I
01:26:09Excuse me, my plane is leaving. Sorry
01:26:13I'm sorry, but we've been ordered to check all passengers departing from Buenos Aires tonight. I
01:26:18Know I know but it has to do with the robbery that took place at the Kolan theater, but I miss my plane, please
01:26:26I
01:26:28Excuse me, miss. I think I could help you. Thank you
01:26:34Could I have your passport
01:26:36Here it is. It's only for a minute
01:26:39All her baggage has been checked through except for a dozen parakeet parakeets. What are they? I don't know, you know, not all of it. Oh, yes
01:26:47Do you have your clearances?
01:26:49Yes shot record very good
01:26:52Have a good flight
01:26:55Well, there you are, mr. Arnathologist if you like, I'll escort you to your plane. Thank you
01:27:02Thank you
01:27:19I
01:27:49I
01:28:19Suppose
01:28:49I
01:29:19I
01:29:49I