- 5/28/2025
LO QUE PIENSAN LAS MUJERES (THAT UNCERTAIN FEELING, 1941, Full movie, Spanish, Cinetel) HD
Category
🎥
Short filmTranscript
00:00:00What do women think?
00:00:30What do men think?
00:00:40What do women think?
00:00:50What do men think?
00:01:00What do men think?
00:01:10What do women think?
00:01:30What do men think?
00:01:40What do men think?
00:01:50What do men think?
00:02:10What do men think?
00:02:30What do men think?
00:02:40What do men think?
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00:03:30What do men think?
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00:04:30What do men think?
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00:08:40What do men think?
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00:09:10What do men think?
00:09:20What do men think?
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00:09:50What do men think?
00:10:10What do men think?
00:10:30What do men think?
00:10:50What do men think?
00:11:10What do men think?
00:11:30What do men think?
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00:12:10What do men think?
00:12:30What do men think?
00:12:40What do men think?
00:12:50What do men think?
00:13:10What do men think?
00:13:30What do men think?
00:13:50What do men think?
00:14:10What do men think?
00:14:30What do men think?
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00:15:10What do men think?
00:15:30What do men think?
00:15:50What do men think?
00:16:10What do men think?
00:16:30What do men think?
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00:17:10What do men think?
00:17:30What do men think?
00:17:50What do men think?
00:18:00What do men think?
00:18:20What do men think?
00:18:40What do men think?
00:19:00What do men think?
00:19:20What do men think?
00:19:40What do men think?
00:20:00What do men think?
00:20:20What do men think?
00:20:40What do men think?
00:21:00What do men think?
00:21:20What do men think?
00:21:40What do men think?
00:22:00What do men think?
00:22:21What do these notes mean?
00:22:23I'm a musician, a pianist.
00:22:25Oh, a pianist.
00:22:29And this pedestal?
00:22:31Well, that indicates greatness.
00:22:36Why didn't he put a bust of you on it? Is there a reason?
00:22:39There is.
00:22:41See that little line?
00:22:42Which one? This one?
00:22:44There's my problem.
00:22:47That line was sent to me by Dr. Benkert.
00:22:50I must confess that I am artistically inhibited.
00:22:54Let's go again.
00:22:55One moment, one moment.
00:22:57And this watch?
00:22:58The watch?
00:22:59Yes.
00:23:00Oh, it shouldn't be in the painting.
00:23:02Why?
00:23:03You see, it's a personal matter.
00:23:08Do you regret coming here?
00:23:10Oh, no, no, on the contrary.
00:23:12I find it fascinating.
00:23:14It's a new world, but I don't quite understand it.
00:23:17If you want to know something about me, ask.
00:23:21That watch marks twelve and a quarter.
00:23:23Is it an unimportant detail or does it mean something?
00:23:26It means something.
00:23:28But let's stop talking about me and talk about something else.
00:23:31When will your next concert be?
00:23:33When?
00:23:34When I can get over it.
00:23:36Get over what?
00:23:37That little line.
00:23:39Oh, you mean your inhibition.
00:23:41Yes.
00:23:43Tell me, is it twelve and a quarter at noon?
00:23:47At night.
00:23:48Any particular night?
00:23:52Going back to my inhibitions, when I give a private concert...
00:23:55Excuse me, Alexander, can you tell me something else?
00:23:59It was very hot.
00:24:00Was it summer?
00:24:01Yes.
00:24:03When I play for a single person, for the right person,
00:24:08I'll be completely frank with you.
00:24:10I don't think there's a better pianist in the world.
00:24:13But in a concert hall, in front of an audience, no.
00:24:16Something is missing.
00:24:18Those faces staring at me.
00:24:20With what right do they look at me?
00:24:22With what right do they listen to me for having paid two dollars?
00:24:25Sometimes two and a half.
00:24:27Why do I bore you with all this?
00:24:29No, please, go on.
00:24:30It's fascinating.
00:24:31You're a puzzle, Mr. Alexander Sebastian.
00:24:34Don't try to fit all the pieces, Mrs. Felice Baker.
00:25:03Mrs. Kafka?
00:25:05Mr. Javier?
00:25:07Mrs. Jeverensi?
00:25:10Mr. Jones?
00:25:12Jones?
00:25:13It's the only normal last name I've heard so far.
00:25:15He's Mr. Baker's lawyer.
00:25:17Oh, I guess he'll need a lawyer with so many Hungarians.
00:25:29Good evening, sir.
00:25:30Good evening.
00:25:31How's it going?
00:25:32Very well, Mr. Baker.
00:25:33Has a package arrived for me?
00:25:34No, sir.
00:25:48Hello, darling.
00:25:49Hello.
00:25:50Any news?
00:25:51No.
00:25:52Did you have a good day?
00:25:54Wonderful.
00:25:55Ready for a big party?
00:25:57Ready.
00:25:58Do you remember the word?
00:26:00Eggsheghera.
00:26:01Eggsheghera.
00:26:02That's it.
00:26:03Good.
00:26:05What is it?
00:26:07I heard you had a package, Mr. Albert.
00:26:09You didn't tell me.
00:26:33I'm going.
00:26:51I'm Mr. Baker.
00:26:53May I ask what you're doing here?
00:26:55Waiting.
00:26:56Oh, waiting.
00:26:58Tell me, when are we going to have dinner?
00:27:01Dinner?
00:27:02I was invited to dinner.
00:27:04Oh.
00:27:07I'm sorry.
00:27:10Tell me, are you from Universal mattresses or Unite furniture?
00:27:14I'm not from anything.
00:27:16Oh, you've played with two decks, huh?
00:27:18Well, it's a smart measure.
00:27:21Tell me, what do you think of Mr. Kafka?
00:27:23I'm indifferent.
00:27:26Of course, you're not very explicit.
00:27:29The merger has been a great success, I believe.
00:27:33The merger creates the union.
00:27:42Hey, you want me to enjoy this night, right?
00:27:45Yes, of course.
00:27:46Very well, come on.
00:27:48This jug disgusts me.
00:27:50It's ugly.
00:27:51Let's keep it.
00:27:54Sure, as you wish.
00:27:56The client is always right.
00:27:59Would you like to change anything else?
00:28:01Many.
00:28:04I think we're going to have a very pleasant evening.
00:28:07I'll tell you a secret.
00:28:09We have goulash.
00:28:10Goulash?
00:28:11Yes, goulash.
00:28:13For me, scrambled eggs.
00:28:16It was just a suggestion.
00:28:21Excuse me, I have to finish dressing.
00:28:24Continue, we'll be at your house.
00:28:36Those Hungarians are very strange people.
00:28:38Have they arrived yet?
00:28:39One, yes.
00:28:40We talked about Smokin, didn't we?
00:28:42Why do you ask?
00:28:43He doesn't have it.
00:28:44Oh, you mean Mr. Sebastian.
00:28:46Sebas?
00:28:47Who is he with?
00:28:48With whom?
00:28:49He's against everyone.
00:28:50He's an individualist.
00:28:51He's so rich.
00:28:52He doesn't care about money at all.
00:28:56How do you know?
00:28:57Darling, he's Sebastian.
00:28:59Alexander Sebastian.
00:29:00I told you about him the other day.
00:29:01But, as always, you never listen to what I tell you.
00:29:04Absolutely nothing.
00:29:05Ah, now I remember.
00:29:06The guy who plays the piano.
00:29:08He's not the guy who plays the piano.
00:29:09He's a pianist.
00:29:10And soon he'll be very important.
00:29:12And you'll be very happy to secure his hands for $100,000.
00:29:15Look, darling, I'm giving this dinner especially for those Hungarians.
00:29:19Would you be interested in a cop?
00:29:21I don't know or I care.
00:29:23Sometimes I don't quite understand you.
00:29:25Tonight we have the possibility to close a deal of $500,000.
00:29:29I've bothered to prepare a Hungarian night for the president of mattress universal.
00:29:33And you invite a guy who plays the piano.
00:29:35How did it happen to you?
00:29:37Musicians and mattresses form a bad couple.
00:29:39Larry, for six years you've only talked about insurance.
00:29:41And now I'm fed up with you.
00:29:43Is it so much to ask that you let me spend a night with Rimsky-Korsakov and Stravinsky?
00:29:47Rimsky-Korsakov and Stravinsky?
00:29:49Who else have you invited?
00:29:51Why haven't you invited the whole philharmonic?
00:29:53You could have brought Dean Saylor as a presenter.
00:29:55Oh, all right, all right.
00:29:57Let's forget it.
00:29:59If you don't want me to play, I won't play.
00:30:01Play?
00:30:02Yes, it's not a bad idea.
00:30:04Maybe it could liven up the party.
00:30:06If Mr. Sebastian consents to play, which I doubt,
00:30:08if he consents, it won't be Hungarian folklore.
00:30:11What will he play then?
00:30:13Something you'd have to pay $2.50 to listen to.
00:30:16The Carnegie Hall music?
00:30:18Exactly.
00:30:19Not at my house.
00:30:20Not tonight.
00:30:24What's this?
00:30:26Oh, it's a reproduction of a painting I saw in an art gallery.
00:30:30And do you like it?
00:30:32I love it.
00:30:34Tell me, what is it?
00:30:36Can't you see?
00:30:38Enough jokes. What is it?
00:30:40It's a portrait.
00:30:42A portrait? Of what?
00:30:44Of a man.
00:30:46Seriously?
00:30:48Yes.
00:30:50Of a man.
00:30:52I know I'm nothing more than an ignorant insurance agent,
00:30:55and I don't know anything about Stravinsky.
00:30:57But we've been married for six years, and I think I've been a pretty good husband.
00:31:00When I ask you something, you must answer as God commands.
00:31:03You don't have to make fun of me.
00:31:09Do you know what this is?
00:31:11The Grand Canyon.
00:31:21It's delicious.
00:31:23Sit here, Mrs. Kafka.
00:31:26And that's why we're the best company for you.
00:31:28It's possible. We'll talk after dinner.
00:31:30Of course.
00:31:31Sit here, Mrs. Kafka.
00:31:33All right.
00:31:34Mrs. Baker.
00:31:35Thank you, Mr. Kafka.
00:31:43Not even Loewengrin?
00:31:45Especially Loewengrin.
00:31:47Mrs. Wagner, except for a passage by Tristan,
00:31:49which is really beautiful, but it's never interpreted well.
00:31:52Someday you'll play it for me.
00:31:54Maybe.
00:31:56I don't like strawberries.
00:31:58Oh, I'm sorry.
00:32:00Eggshekera.
00:32:04Eggshekera.
00:32:14Is everything all right, Mr. Kafka?
00:32:16Very well.
00:32:18Eggshekera.
00:32:24Eggshekera.
00:32:27Eggshekera.
00:32:30Eggshekera.
00:32:34All right, Mr. Kafka.
00:32:36Eggshekera.
00:32:43How grateful I am, Mrs. Baker.
00:32:45This detail has moved me.
00:32:47This is hospitality, Mr. Baker.
00:32:49I was surprised.
00:32:51Where did you learn it?
00:32:52What does it mean?
00:32:53Salud.
00:32:54Oh, how beautiful.
00:32:55And he pronounced it perfectly.
00:32:57Indas.
00:32:59And who are they?
00:33:00Hey, look, there's a Hungarian here.
00:33:02And what?
00:33:03I don't know.
00:33:04Oh, my God.
00:33:06Eggshekera.
00:33:08Eggshekera.
00:33:10Eggshekera.
00:33:16How do you speak Hungarian?
00:33:18Were you born in Hungary?
00:33:19No, I studied music in Budapest.
00:33:21Budapest?
00:33:22Oh, Budapest.
00:33:24Did you live on what street?
00:33:26Andrusa.
00:33:28Andrasil.
00:33:30Andrasil.
00:33:34Andrasil.
00:33:36Ante.
00:33:38Andrasil.
00:33:40Andrasil.
00:33:42Ante.
00:33:44Ante.
00:33:46Andrasil.
00:33:50Andrasil.
00:33:52I can't hear you.
00:33:54I can't hear you.
00:33:56I can't hear you.
00:33:58I can't hear you.
00:34:00I can't hear you.
00:34:02I can't hear you.
00:34:04I can't hear you.
00:34:06I can't hear you.
00:34:08I can't hear you.
00:34:10I can't hear you.
00:34:12I can't hear you.
00:34:14I can't hear you.
00:34:16I can't hear you.
00:34:18I can't hear you.
00:34:20I can't hear you.
00:34:22I can't hear you.
00:34:24I can't hear you.
00:34:26I can't hear you.
00:34:28I can't hear you.
00:34:30I can't hear you.
00:34:32I can't hear you.
00:34:34I can't hear you.
00:34:36I can't hear you.
00:34:38I can't hear you.
00:34:40I can't hear you.
00:34:42I can't hear you.
00:34:44I can't hear you.
00:34:46I can't hear you.
00:34:48I can't hear you.
00:34:50I can't hear you.
00:34:52I can't hear you.
00:34:54I can't hear you.
00:34:56I can't hear you.
00:34:58I can't hear you.
00:35:00I can't hear you.
00:35:02I can't hear you.
00:35:04I can't hear you.
00:35:06I can't hear you.
00:35:08I can't hear you.
00:35:10I can't hear you.
00:35:12I can't hear you.
00:35:14I can't hear you.
00:35:16I can't hear you.
00:35:18I can't hear you.
00:35:20I can't hear you.
00:35:22I can't hear you.
00:35:24I can't hear you.
00:35:26I can't hear you.
00:35:28I can't hear you.
00:35:30I can't hear you.
00:35:32I can't hear you.
00:35:34I can't hear you.
00:35:36I can't hear you.
00:35:38I can't hear you.
00:35:40I can't hear you.
00:35:42I can't hear you.
00:35:44I can't hear you.
00:35:46I can't hear you.
00:35:48I can't hear you.
00:35:50I can't hear you.
00:35:52I can't hear you.
00:35:54I can't hear you.
00:35:56I can't hear you.
00:35:58I can't hear you.
00:36:00I can't hear you.
00:36:02I can't hear you.
00:36:04I can't hear you.
00:36:06I can't hear you.
00:36:08I can't hear you.
00:36:10I can't hear you.
00:36:12I've broken it.
00:36:13Don't worry.
00:36:14Of course not.
00:36:15Well, Mr. Sebastian, tell us, what are you going to play?
00:36:19Well, first I'm going to play...
00:36:23Mrs. Baker.
00:36:24Yes, Mr. Sebastian.
00:36:28All right.
00:36:38I'll start with Beethoven's Pathétique.
00:36:41It consists of three beats.
00:36:43And then, if I'm in the mood, I'll play Hof's Variations,
00:36:46based on the second theme of the first beat.
00:36:49I'll continue with my own Variation, based on Hof's Variations,
00:36:52based on the second theme of the first beat.
00:36:56How long does a sonata last?
00:36:58The only one I've heard lasted three bars.
00:37:00It's a disaster.
00:37:01A disaster.
00:37:03It's a disaster.
00:37:04It's a disaster.
00:37:05It's a disaster.
00:37:06It's a disaster.
00:37:07It's a disaster.
00:37:08It's a disaster.
00:37:09It's a disaster.
00:37:10It's a disaster.
00:37:11It's a disaster.
00:37:12It's a disaster.
00:37:13It's a disaster.
00:37:14It's a disaster.
00:37:15It's a disaster.
00:37:16It's a disaster.
00:37:17It's a disaster.
00:37:18It's a disaster.
00:37:19It's a disaster.
00:37:20It's a disaster.
00:37:21It's a disaster.
00:37:22It's a disaster.
00:37:23It's a disaster.
00:37:24It's a disaster.
00:37:25It's a disaster.
00:37:26It's a disaster.
00:37:27It's a disaster.
00:37:28It's a disaster.
00:37:29It's a disaster.
00:37:30It's a disaster.
00:37:31It's a disaster.
00:37:32It's a disaster.
00:37:33It's a disaster.
00:37:34It's a disaster.
00:37:35It's a disaster.
00:37:36It's a disaster.
00:37:37It's a disaster.
00:37:38It's a disaster.
00:37:39It's a disaster.
00:37:40It's a disaster.
00:37:41It's a disaster.
00:37:42It's a disaster.
00:37:43It's a disaster.
00:37:44It's a disaster.
00:37:45It's a disaster.
00:37:46It's a disaster.
00:37:47It's a disaster.
00:37:48It's a disaster.
00:37:49It's a disaster.
00:37:50It's a disaster.
00:37:51It's a disaster.
00:37:52It's a disaster.
00:37:53It's a disaster.
00:37:54It's a disaster.
00:37:55It's a disaster.
00:37:56It's a disaster.
00:37:57It's a disaster.
00:37:58It's a disaster.
00:37:59It's a disaster.
00:38:00It's a disaster.
00:38:01It's a disaster.
00:38:02It's a disaster.
00:38:03It's a disaster.
00:38:04It's a disaster.
00:38:05It's a disaster.
00:38:06It's a disaster.
00:38:07It's a disaster.
00:38:08It's a disaster.
00:38:09It's a disaster.
00:38:10It's a disaster.
00:38:11It's a disaster.
00:38:12It's a disaster.
00:38:13It's a disaster.
00:38:14It's a disaster.
00:38:15It's a disaster.
00:38:16It's a disaster.
00:38:17It's a disaster.
00:38:18It's a disaster.
00:38:19It's a disaster.
00:38:20It's a disaster.
00:38:21It's a disaster.
00:38:22It's a disaster.
00:38:23It's a disaster.
00:38:24It's a disaster.
00:38:25It's a disaster.
00:38:26It's a disaster.
00:38:27It's a disaster.
00:38:28It's a disaster.
00:38:29It's a disaster.
00:38:30It's a disaster.
00:38:31It's a disaster.
00:38:32It's a disaster.
00:38:33It's a disaster.
00:38:34It's a disaster.
00:38:35It's a disaster.
00:38:36It's a disaster.
00:38:37It's a disaster.
00:38:38It's a disaster.
00:38:39It's a disaster.
00:38:40It's a disaster.
00:38:41It's a disaster.
00:38:42It's a disaster.
00:38:43It's a disaster.
00:38:44It's a disaster.
00:38:45It's a disaster.
00:38:46It's a disaster.
00:38:47It's a disaster.
00:38:48It's a disaster.
00:38:49It's a disaster.
00:38:50It's a disaster.
00:38:51It's a disaster.
00:38:52It's a disaster.
00:38:53It's a disaster.
00:38:54It's a disaster.
00:38:55It's a disaster.
00:38:56It's a disaster.
00:38:57It's a disaster.
00:38:58It's a disaster.
00:38:59It's a disaster.
00:39:00That clause of the contract has saved our necks, admit it, and now...
00:39:30Wait, I'm going to entertain him a little.
00:39:36Good morning.
00:39:37Good morning, sir.
00:39:38That painting of the Escaparate...
00:39:39It's excellent, don't you think?
00:39:41No kidding, what is it?
00:39:42It's the portrait of a man.
00:39:44Oh, of course, it catches the eye.
00:39:47Forgive me, sir, but not everyone understands modern art.
00:39:50Well, thank you.
00:39:51If you are interested, it only costs 500 dollars.
00:39:53500 dollars? Is he an important man?
00:39:55No, no, sir, he is not valued by the model, he is a second-class musician.
00:39:59Musician? What kind of musician?
00:40:01Pianist, I think.
00:40:03Could it be Alexander Sebastian?
00:40:05Indeed.
00:40:07He has recognized him.
00:40:09So he's a friend of yours.
00:40:11Wouldn't it be fun to have him at home permanently?
00:40:15Not very fun.
00:40:25He's a fraud.
00:40:27Who?
00:40:29Her.
00:40:31Goodbye, John.
00:40:33Goodbye.
00:40:55Hello, honey.
00:40:57Hello.
00:40:59Don't you think it's a nice surprise?
00:41:01It's great.
00:41:03The farm is happy.
00:41:05I don't feel any joy.
00:41:07Oh, you won't deny me the pleasure of learning music.
00:41:10Oh, no, no.
00:41:12Any news?
00:41:13Is it? Do you think it's little?
00:41:15I think it's enough.
00:41:16Did you have a good day?
00:41:17Great.
00:41:19It seems that you are better.
00:41:20Yes, I have slept 10 hours in a row.
00:41:22And the hiccup has disappeared completely.
00:41:24Is it true that it is good news?
00:41:26Yes, of course.
00:41:28Are you still visiting Dr. Ben-Gar?
00:41:31Oh, no, I don't need Dr. Ben-Gar anymore.
00:41:33I'm so busy with music and visits to the art galleries
00:41:36that I don't have time for anything.
00:41:38Ah, it's wonderful.
00:41:43You know, I'm starting to see something here.
00:41:46Yes, I'm starting to take the shape of a man.
00:41:49Eh?
00:41:52Why did you say that?
00:41:54You, the other night ...
00:41:55Oh, it was a joke. I was taking your hair.
00:41:58How can that be a man?
00:42:00I was nervous about dinner and I said the first thing that came to my mind.
00:42:03I'm sorry, honey.
00:42:05No, I don't agree.
00:42:07He seems like a man to me.
00:42:08Don't be stupid. I'm telling you it was a joke.
00:42:10So, what is it?
00:42:13That's ... a meadow.
00:42:16It's called meadow in spring.
00:42:18In spring?
00:42:19Yes.
00:42:21And those musical notes, what do they mean?
00:42:24That's ... the shepherd playing his flute.
00:42:28The shepherds play the flute, right?
00:42:30Yes, yes, of course.
00:42:32And that clock that marks twelve o'clock?
00:42:34I don't know the exact meaning.
00:42:36But I guess it represents lunch.
00:42:38The shepherd has lunch and then plays the flute.
00:42:40For God's sake, you speak as if you've never been to a meadow.
00:42:43You see, in modern art they try to break conventional forms.
00:42:47They represent things in another way.
00:42:49Through suggestion.
00:42:55What are you doing?
00:42:57Painting the shepherd's moustache.
00:43:05I'm going to give that pianist a beating.
00:43:07Couldn't you do something worse?
00:43:09You'd get him to feel sorry for you.
00:43:11Don't make him a martyr.
00:43:13Consider it from the point of view of a woman.
00:43:16Wait a minute.
00:43:19Miss Egans, would you like to come in, please?
00:43:28Miss Egans, we'd like your point of view on a certain situation.
00:43:33Well, Mr. Baker has a friend, and he's in trouble.
00:43:37Who, Mr. Baker?
00:43:39No, the friend.
00:43:41Oh, Mr. Baker.
00:43:43Mr. Baker has nothing to do with it.
00:43:45Let's say that friend's name is Mr. Brown.
00:43:48Mr. Brown has a wife.
00:43:50Mrs. Brown.
00:43:52Exactly.
00:43:53Mr. Brown and Mrs. Brown have been married for how long?
00:43:56Let's say about six years.
00:43:58They live in Akron.
00:43:59Six years in Akron? How boring.
00:44:01Well, let's say they live in New York.
00:44:03Mr. Brown is worried about their marriage.
00:44:06Things don't go as well as before.
00:44:08What kind of man is Mr. Brown?
00:44:10A beautiful person.
00:44:12Wouldn't you say that?
00:44:13Yes, very beautiful.
00:44:14Is he attractive?
00:44:15Very attractive.
00:44:16Wouldn't you say that?
00:44:17Yes.
00:44:18And yet, she complains.
00:44:20Rather, she moves away from him.
00:44:22Yes, and he wants things to go back to normal.
00:44:25And who doesn't?
00:44:26Of course.
00:44:27Well, Miss Egans, as a woman, I want you to tell us, what would be the right method?
00:44:32I would say that a vison coat would fix everything.
00:44:35She already has a vison coat.
00:44:37Then why does she complain?
00:44:39Thank you, Miss Egans, nothing more.
00:44:42Do you want a woman's point of view?
00:44:45One moment.
00:44:46Wait.
00:44:47Mrs. Brown is interested in another man.
00:44:50And does Mr. Brown know?
00:44:52Yes.
00:44:53Do you have proof?
00:44:54Too much.
00:44:55Do you have witnesses?
00:44:56No.
00:44:57Then you are lost.
00:44:58Thank you, Miss Egans.
00:44:59I'm sorry, Mr. Baker, but if there are no witnesses, she will deny it.
00:45:01That's what any woman would do.
00:45:03Miss Egans, we are satisfied.
00:45:05I don't think I'm the right person to give you advice,
00:45:07because I would feel too much sympathy for Mr. Brown,
00:45:11We have cases like that every day.
00:45:13The woman is bored, marriage has become a habit,
00:45:16but she accepts all the things that her husband offers her.
00:45:19They should kick her out of the house.
00:45:21Do I seem old-fashioned to you?
00:45:23We will have it on track, Miss Egans.
00:45:25Anyway, I think Mr. Brown is a great guy.
00:45:27I've always thought so.
00:45:29What a woman.
00:45:31Yes, but she has some interesting ideas.
00:45:33I haven't noticed.
00:45:35Larry, you're still in love with your wife, right?
00:45:38Yes.
00:45:39Where will you go when you get out of here?
00:45:41I have a business dinner with Mr. Higgins at his club.
00:45:44But how am I going to sell insurance with this concern?
00:45:46Larry, listen, forget Higgins, forget insurance.
00:45:50Go home.
00:45:51There's only one thing you have to sell, and that's yourself.
00:45:54The most important client you've had in your life is waiting for you.
00:45:58Her name is Mrs. Baker.
00:46:00You are the best seller in the world.
00:46:02There is no marriage that cannot be fixed,
00:46:04but you have to sell it again from time to time.
00:46:07It's not easy.
00:46:09Was it easy to make insurance against torrential rains in southern California?
00:46:14Use a new tactic.
00:46:16Try it.
00:46:17Save my marriage with a new tactic?
00:46:19Yes, that's what I said.
00:46:21Yes, it's not a bad idea.
00:46:23But what could that new tactic be?
00:46:25What could it be?
00:46:26Which?
00:46:27I'll find that new tactic.
00:46:36A surprise, huh?
00:46:40Hello, my genius.
00:46:43Who will you be this afternoon?
00:46:45Come on, just tell your little one.
00:46:48I don't know.
00:46:50I don't know.
00:46:52I don't know.
00:46:54I don't know.
00:46:56I don't know.
00:46:58I don't know.
00:47:00I don't know.
00:47:02I don't know.
00:47:04Come on, just tell your little one.
00:47:06Will you be Mozart, playful and tender?
00:47:09Or will you be the turbulent Beethoven,
00:47:12strong, relentless and fierce?
00:47:15Come on, darling.
00:47:16Tell your little one.
00:47:24Guess who's here?
00:47:29Guess who's here?
00:47:33The god of the gods who goes to the ...
00:47:39Is it serious?
00:47:41No, he just fainted.
00:47:43Women are always fainting.
00:47:46Any particular reason?
00:47:48No, no.
00:47:49He thought I was a genius.
00:47:51He found out he wasn't and he fainted.
00:47:53Please, you are at home.
00:47:55I'll be right back.
00:47:56I'm going to look for some salt.
00:48:15Look, Baker, let's make one thing clear.
00:48:17There's going to be a heated discussion.
00:48:19We're going to insult each other.
00:48:21You can't avoid it.
00:48:22You're going to accuse me of something that I'll deny I've done,
00:48:24and you're not going to believe me.
00:48:25So before the battle, I want to make one thing clear.
00:48:28I'm not going to fight.
00:48:30My hands give me my only livelihood,
00:48:32and I'm not going to hit you.
00:48:34Come on, Mozart, wake up your little one.
00:48:48What happened?
00:48:50Well, I ...
00:48:52You!
00:48:56That's funny.
00:48:58Do you know what I thought?
00:49:00No, but I think I ...
00:49:03Oh!
00:49:23Yes?
00:49:25Hi, Jones.
00:49:26You were right.
00:49:28I had to come up with a new tactic,
00:49:30and I think I've found it.
00:49:58I don't trust you.
00:50:00Come on, I'll buy you a cigar.
00:50:02Or do you have hidden motives?
00:50:04Or have you put something in that cigar?
00:50:06No, no.
00:50:07It's one of the cigars I give away to my clients.
00:50:09How old are you, Sebastian?
00:50:11Younger than me.
00:50:13I don't believe you.
00:50:15I don't believe you.
00:50:17I don't believe you.
00:50:19I don't believe you.
00:50:21I don't believe you.
00:50:23I don't believe you.
00:50:25I don't believe you.
00:50:27I don't believe you.
00:50:29In the flower of life, huh?
00:50:31Are you in good health?
00:50:33It will improve a lot when you have dinner.
00:50:35But I'm not going to fight.
00:50:37No, no, I don't want a fight.
00:50:39But not all husbands
00:50:41share the respect I feel for music.
00:50:43And what would happen?
00:50:45Come on, Sebastian.
00:50:47I'm going to do something for you,
00:50:49whether you like it or not.
00:50:51I'm going to secure your hands.
00:50:53So you'll have total freedom of action,
00:50:55and I'll make money.
00:50:57We'll both make money.
00:50:59I'm not going to fight.
00:51:01No, I know, I know.
00:51:03You like to isolate yourself.
00:51:05Isolate yourself right there.
00:51:09You know, the best part of all this is that...
00:51:11Sit down.
00:51:13We're going to make
00:51:15the security of the hands
00:51:17a clause in your life insurance.
00:51:19Life insurance?
00:51:21What do I want a life insurance for?
00:51:23Family?
00:51:25I know!
00:51:27Name my wife.
00:51:29So she can buy a beautiful piano-shaped brooch
00:51:31with diamonds instead of keys.
00:51:33Every time she puts it on,
00:51:35she'll think of her poor Sebastian.
00:51:37Believe me, you should get a life insurance.
00:51:39Right now.
00:51:53Very well.
00:51:55Where were you born?
00:51:57I'm not going to fight.
00:51:59He's in love with my wife.
00:52:05He's in love with your wife?
00:52:07Is that why he pulled out the gun?
00:52:11Now I understand everything.
00:52:13Come on, Baker,
00:52:15you should be ashamed of behaving like that.
00:52:17A smart guy,
00:52:19an insurance agent like you,
00:52:21a psychologist...
00:52:23I'm surprised you thought of that.
00:52:25Naturally,
00:52:27I think your wife is very attractive
00:52:29and charming, and she likes music.
00:52:31That's taken care of.
00:52:33Yes.
00:52:35Please, Baker, forget that idea.
00:52:37I'm not in love with your wife.
00:52:39Well, it's going to be a jubilee day
00:52:41for the musicians in heaven.
00:52:43Imagine Beethoven calling Mozart.
00:52:45Hey, Mozart, take the lead off the piano.
00:52:47Look who's here, the little genius.
00:52:49This is not funny.
00:52:51I love my wife.
00:52:53I've loved her for the past six years.
00:52:55And a guy like you
00:52:57simply destroys her
00:52:59because he has nothing else to do.
00:53:01He won't get away with it.
00:53:03If I had really loved my wife,
00:53:05if I had come to tell me that,
00:53:07maybe I would have accepted it.
00:53:09Yes, I would have accepted it.
00:53:11If we had both believed
00:53:13that she would be happier without me,
00:53:15I would have packed my bags
00:53:17and I wouldn't have to do this.
00:53:21You know, Baker,
00:53:23for a moment I was worried.
00:53:25When he pulled out the gun,
00:53:27I thought,
00:53:29here's a conventional citizen.
00:53:31It would be silly to tell the truth
00:53:33to a guy like that,
00:53:35but now I see the real Baker,
00:53:37modern, liberated.
00:53:39Baker, I'll be honest with you.
00:53:41I'm in love with your wife.
00:53:43Are you sure?
00:53:45Well, then I won't have to kill you.
00:53:47I don't think it's necessary.
00:53:49We're in a very clear situation.
00:53:51You're in love with my wife
00:53:53and she's in love with you.
00:53:55Yes, she loves you.
00:53:57I've seen it with my own eyes.
00:53:59I only have one alternative.
00:54:07Yes?
00:54:09Hi, John, I'm still with the tactics.
00:54:25Did I hit him back?
00:54:27No.
00:54:29I shouldn't have done that.
00:54:31I know and I'm sorry.
00:54:33I shouldn't have done it.
00:54:35It was a primitive reaction.
00:54:37I assure you it won't happen again.
00:54:39I'm not going to fight.
00:54:41Hey, I'm Lawrence Baker.
00:54:43Nice to meet you.
00:54:49Baker.
00:54:51Are you really leaving?
00:54:53Of course, of course.
00:54:55I think I should leave the flat to her.
00:54:57Really?
00:54:59Yes, it's fair, don't you think?
00:55:01Yes, I think it's the most appropriate.
00:55:03I'm glad you think so.
00:55:05I don't want there to be bitterness between us.
00:55:09Fortunately, I can offer Jill
00:55:11security and take care of her future.
00:55:13And why not?
00:55:15She deserves it, don't you think?
00:55:17Yes, yes, I think so.
00:55:19She has given me the best years of her life.
00:55:21I will have wonderful memories with me.
00:55:25She's a great woman, isn't she?
00:55:27Yes, yes, great.
00:55:29But she has her flaws, who doesn't?
00:55:31That's true, yes.
00:55:33Sebastian,
00:55:35if you ever find her in a bad mood,
00:55:37what you have to do is ...
00:55:39No, no,
00:55:41I shouldn't tell you.
00:55:43Come on, don't act like a kid.
00:55:45No, look, it's something personal.
00:55:47Come on, what's it about?
00:55:49Well, if you ever find her in a very bad mood
00:55:51and you want to cheer her up right away,
00:55:53there's only one way to do it.
00:55:55What is it?
00:55:57You have to give her kicks.
00:55:59Kicks?
00:56:01And what's that?
00:56:03This ...
00:56:05Kicks.
00:56:07And does she like it?
00:56:09She loves it.
00:56:11Man, thank you.
00:56:13Kicks?
00:56:25Now, the reason for the divorce.
00:56:27According to the law of the State of New York,
00:56:29there must be proof of adultery.
00:56:31Oh, isn't there any less violent way?
00:56:33In New York, no.
00:56:35Well, we'll say that I'm the adulterer.
00:56:37Oh, no, I wouldn't like to get you involved in that commitment.
00:56:39It's the same.
00:56:41But why are you going to take the blame?
00:56:43Don't worry, I'll take care of it.
00:56:45A detail on your part?
00:56:47Thank you, Sebastian.
00:56:49We only have the separation of assets left.
00:56:51The agreement between Lawrence Baker,
00:56:53to whom we refer as the part of the first part,
00:56:55and Jill Baker, to whom we will refer as the part of the second part.
00:56:57It is understood that the part of the first part
00:56:59transfers the writing of Park Avenue's floor
00:57:01to the part of the second part.
00:57:03And the furniture?
00:57:05Yes, the furniture.
00:57:07I didn't understand.
00:57:09Yes, yes, I want everything to be transferred
00:57:11to the part of the second part.
00:57:13We could discuss it later.
00:57:15It's better that we fix everything now.
00:57:17You deserve it.
00:57:19Well, it's just that I...
00:57:21Do you only intend to be fair?
00:57:23You are very generous.
00:57:25No, just, nothing more.
00:57:27Well, if you want to keep something.
00:57:29No, I don't need anything.
00:57:31Do you still keep furniture?
00:57:33Of course.
00:57:35Well, I have to correct this.
00:57:41What's his name?
00:57:43Jones.
00:57:45I don't trust him.
00:57:49Well, here we are.
00:57:51Baker against Baker.
00:57:53It sounds horrible, doesn't it?
00:57:55It's a legal term.
00:57:57Oh, about the candy tests.
00:57:59I don't know.
00:58:01Have you thought of someone?
00:58:03There are several promising candidates.
00:58:05Well.
00:58:07It's better this way.
00:58:09We will liquidate the matter in a few weeks.
00:58:11Great.
00:58:13Hey, isn't it Mary Logan?
00:58:15Adultery with Mary Logan?
00:58:17I hope to find something better.
00:58:19When everything is fixed,
00:58:21I will make a trip to South America.
00:58:23Will it be one of my friends?
00:58:25No, you know I've never liked them too much.
00:58:27It's a game of riddles.
00:58:29I'm just curious.
00:58:31Don't worry, you can trust me.
00:58:33You won't have to be ashamed.
00:58:35She will be a very attractive girl.
00:58:39Larry.
00:58:41Do you really want a divorce?
00:58:43Of course, don't you want it?
00:58:45Well ...
00:58:47Don't tell me you don't want it.
00:58:49It would be a big mislead.
00:58:51Come on, you're very in love with Sebastian.
00:58:53Otherwise you wouldn't have ...
00:58:55You wouldn't be here.
00:58:57You are a great person, Jill.
00:58:59You wouldn't have done this just out of whim.
00:59:01I've always believed you were honest.
00:59:03Always.
00:59:07I would like to take this memory with me.
00:59:09I'm sorry I hurt you.
00:59:11What could you do?
00:59:15For my part, there will be no bitterness.
00:59:17It's curious.
00:59:19You have always been my husband.
00:59:21And now you are the part of the first part.
00:59:25I was your Jill.
00:59:27And now they refer to me as ...
00:59:35Well, everything is arranged.
00:59:37What's up?
00:59:43What did he do to you?
00:59:45Nothing, we were reviewing some details.
00:59:47I don't trust you, Baker.
00:59:49Dear, there is no need to worry.
00:59:51It is a very clear agreement.
00:59:53I'm very nervous, don't you understand?
00:59:55Of course, we all have moments of bad humor.
00:59:57Hicks!
01:00:07Let's read this again.
01:00:09The following agreement has been signed between ...
01:00:11It's useless if we don't agree on the adultery.
01:00:13That's none of your business.
01:00:15You're right.
01:00:17You shut up, of course it's my business.
01:00:19You're not going to make me laugh in the city for a girl I don't know.
01:00:21You won't have that chance.
01:00:23Goodbye.
01:00:29Hicks!
01:00:31Don't do that, Baker.
01:00:33Jill! Jill! Jill!
01:00:35And that, my dear Jones, is to protect your original investment.
01:00:37Let's have a drink.
01:00:39I think you have weakened their defenses.
01:00:41Weakened? I have destroyed them.
01:00:43He will come back and eat in my hand.
01:00:45That's what I'm going to do with Mrs. Jill Baker.
01:00:47From now on, known as Jill Blanda Baker.
01:00:51If you want to buy a cheap piano, I'll offer you mine.
01:00:53No!
01:00:55Oh, how bad I'm going to be.
01:00:57I'll be the rabid dog of the 685th Park Avenue.
01:00:59Hey, Baker!
01:01:01Mr. Jones.
01:01:03Yes, Mrs. Baker.
01:01:05In the evidence of adultery, what does the law require?
01:01:07Well, he has to ...
01:01:09No, in the case that I were the adulterer.
01:01:11Oh, well, he must find it alone on his floor with him,
01:01:13and he must have taken off his jacket.
01:01:15I understand.
01:01:17Alexander.
01:01:19Are you going to take off your jacket for me?
01:01:21Whatever you say, honey.
01:01:23Oh, no, no, no.
01:01:25Do you really want to do that?
01:01:27Of course.
01:01:29Are you going to fool me with that guy?
01:01:31Forget it, Baker, she's already in love with this guy.
01:01:33Brute!
01:01:35Alexander!
01:01:37Alexander!
01:01:39Little.
01:01:41Little?
01:01:43Do you call that little?
01:01:45Get up, honey.
01:01:47You'll feel better. Sit here.
01:01:49That's it.
01:01:51I've been married to a brute for six years and I didn't know it.
01:01:53Divorce is the only solution.
01:01:55Very good. Why don't you go to Reno?
01:01:57Yes, Reno.
01:01:59I don't want to go to the West.
01:02:01Oh, honey, how are you?
01:02:03Trembling.
01:02:05Could you establish a residence in Pennsylvania?
01:02:07Pennsylvania? That's near Philadelphia, isn't it?
01:02:09Yes, of course.
01:02:11It would not be bad. They have a good orchestra.
01:02:13It would be easy to get to New York.
01:02:15Pennsylvania. Pennsylvania.
01:02:17Let's see.
01:02:19There, yes.
01:02:21Little.
01:02:25I will divorce even if it is the last thing I do in life.
01:02:27Article 10.
01:02:29The innocent spouse can get a divorce
01:02:31if it proves that the other spouse,
01:02:33due to their cruel and barbaric treatment,
01:02:35has made life unbearable for the innocent spouse.
01:02:37It seems promising.
01:02:39It will be easy for you to be a barbarian.
01:02:41Yes, my innocent spouse.
01:02:43What do I have to do?
01:02:45Well, let's call a witness.
01:02:47Let's say, my secretary.
01:02:49First, you must start a discussion.
01:02:51It will be a pleasure.
01:02:53Then I would say that you have to slap him.
01:02:55Slap him? No.
01:02:57Ah, you can hit a man but not a woman?
01:02:59You're a coward.
01:03:01Okay, I'll do it.
01:03:03Very good. Let's rehearse everything.
01:03:05Let's see, this is the plan.
01:03:09Miss Egans, do you want to come in, please?
01:03:12Now remember,
01:03:14I'm going to dictate a letter to you,
01:03:16and as soon as I snap my fingers, start arguing.
01:03:18And when you say ...
01:03:20Second-class insurance salesman?
01:03:22I'll slap you. Baker, don't let us down.
01:03:24Miss Egans! Miss Egans!
01:03:26Here I am, Mr. Jones.
01:03:28Sit down, please.
01:03:30Write.
01:03:32To Walter K. Dobermill,
01:03:34Capital City Savings Bank, Columbus, Ohio.
01:03:37Dear Mr. Dobermill,
01:03:39Dobermill, we love you.
01:03:45So you're not going to tell me?
01:03:47I ... I wasn't there.
01:03:50My mother saw you.
01:03:52Your mother is a hysterical old woman.
01:03:54How dare you say that about my dear mother?
01:03:57Your dear mother.
01:04:00You don't want to tell me, do you?
01:04:02I wasn't there.
01:04:04But my mother saw you.
01:04:06Your mother is a hysterical old woman.
01:04:08How dare you say that about my dear mother?
01:04:11Your dear mother.
01:04:13Who are you to say that about my dear mother?
01:04:15Your mother. Do you know who your mother reminds me of?
01:04:17Enough, enough. One moment.
01:04:19Miss Egans. I didn't tell you to leave.
01:04:21Yes, for God's sake, Miss Egans.
01:04:23Sit down.
01:04:25Now read me what I wrote.
01:04:27To Walter K. Dobermill,
01:04:29Capital City Savings Bank, Columbus, Ohio.
01:04:31Dear Mr. Dobermill.
01:04:33So you don't like my mother?
01:04:35No, I don't like your family.
01:04:37I don't like your father and your brother.
01:04:39And do you know who your mother reminds me of?
01:04:41Who?
01:04:42You. And that will give you an idea of what I think of your mother.
01:04:44Second-class insurance salesman.
01:04:48Second-class insurance salesman.
01:04:55Come on.
01:04:58Don't let her insult you like that.
01:05:00That's it.
01:05:08Listen, all our happiness is at stake.
01:05:11Just one slap.
01:05:13Take another.
01:05:15And now, to the card.
01:05:19Read it to me again.
01:05:21Walter K. Dobermill, Capital City Savings Bank, Columbus, Ohio.
01:05:24Dear Mr. Dobermill.
01:05:26Dear Mr. Dobermill.
01:05:28I keep everything I said about your mother.
01:05:30But it's short.
01:05:31Do you think so?
01:05:32Yes, I think so.
01:05:33And I keep saying that you're a second-class insurance salesman.
01:05:36Oh.
01:05:37So I'm a second-class insurance salesman.
01:05:40That's what I said.
01:05:43Repeat it.
01:05:44Second-class insurance salesman.
01:05:52It was.
01:05:58Come on, Baker, calm down. You can do it.
01:06:00Be a good person.
01:06:02Read it to me again.
01:06:04Walter K. Dobermill, Capital City Savings Bank, Columbus, Ohio.
01:06:08Dear...
01:06:09Dear Mr. Dobermill, yes.
01:06:16Did you see, Miss Egans?
01:06:17He slapped his wife.
01:06:19Yes, I saw it.
01:06:20Mrs. Baker, I'm sorry this happened in my office.
01:06:23Me too.
01:06:24Imagine a man who slaps his wife.
01:06:27To do it, he had to get drunk.
01:06:30Goodbye, Mr. James.
01:06:31Goodbye, Mrs. Baker.
01:06:34Goodbye.
01:06:43What do I do with Walter K. Dobermill?
01:06:45Tell him I'm not here.
01:06:57Thank you, sir.
01:06:59Come in.
01:07:04Hello, Albert.
01:07:05Good morning, sir.
01:07:06I hope you forgive me for bothering you on Sunday.
01:07:10It doesn't matter.
01:07:11Did you go to bed late, sir?
01:07:13Yes, I've been like this for several nights and I'm not as young as I thought.
01:07:16I think you look excellent, sir.
01:07:18Thank you, Albert.
01:07:19How's everything going?
01:07:20Not too well, sir.
01:07:22In the plans you have for your future, I could fit in, sir.
01:07:26Have you left the house?
01:07:27Yes, sir.
01:07:28I was forced.
01:07:29It was for that musical gentleman.
01:07:34We all said goodbye except for Emma.
01:07:36She was able to resist because she is deaf.
01:07:38How is the lady?
01:07:40As charming as ever, sir.
01:07:42Happy, I suppose.
01:07:43I don't want to offend you, but I think it shows great courage.
01:08:04Hello.
01:08:05Hello.
01:08:06Is Miss Beckham here?
01:08:09Hello.
01:08:10Hello.
01:08:11Is Mrs. Becket here?
01:08:12Jill, my dear.
01:08:13Margie.
01:08:14I was so excited when you called me.
01:08:15Of course I was.
01:08:16We're close friends.
01:08:17Sit down.
01:08:18How are you, Jill?
01:08:19Great.
01:08:20I'm fine.
01:08:21I'm fine.
01:08:22I'm fine.
01:08:23I'm fine.
01:08:24I'm fine.
01:08:25I'm fine.
01:08:26I'm fine.
01:08:27I'm fine.
01:08:28I'm fine.
01:08:29I'm fine.
01:08:30I'm fine.
01:08:31I'm fine.
01:08:32I'm fine.
01:08:33I'm fine.
01:08:34I'm fine.
01:08:35I'm fine.
01:08:36I'm fine.
01:08:37I'm fine.
01:08:38I'm fine.
01:08:39I'm fine.
01:08:40I'm fine.
01:08:41I'm fine.
01:08:42I'm fine.
01:08:43I'm fine.
01:08:44I'm fine.
01:08:45I'm fine.
01:08:46I'm fine.
01:08:47I'm fine.
01:08:48I'm fine.
01:08:49I'm fine.
01:08:50I'm fine.
01:08:51I'm doing great.
01:08:52Well ...
01:08:53Delta...
01:08:54My dearest, Jill?
01:08:55How are you, Jill?
01:08:56Great.
01:08:57Have I heard that you are going to Philadelphia?
01:08:58Do you know that Alexander?
01:08:59Yes.
01:09:00But I did not want to bother him.
01:09:01He is rehearsing his new concert.
01:09:02I understand.
01:09:03Does it bother you?
01:09:04Uh no, no.
01:09:05I love music.
01:09:06Ah, yes.
01:09:07a work of Bach.
01:09:09Are you sure you don't mind?
01:09:11No, no, I love it.
01:09:12Don't worry, not everyone likes Bach.
01:09:14So if you want him to stop...
01:09:15Oh my God, what a coincidence!
01:09:17Everything seems so romantic to me.
01:09:19Yes, very romantic.
01:09:21By the way, have you seen Larry?
01:09:23Yes, yes, I saw him last night in Monte Carlo.
01:09:25Ah, Larry in Monte Carlo.
01:09:27Yes.
01:09:28What a thing.
01:09:30One moment.
01:09:37Excuse me, Margie.
01:09:47It doesn't matter.
01:09:49Well, what were we saying?
01:09:51So my music is not to your liking, eh?
01:09:55Alexander.
01:09:56It seems to you that it is nothing more than an annoying noise.
01:09:58Very well.
01:10:03Go.
01:10:08It's so original.
01:10:09Of course.
01:10:11I hope it doesn't bother you.
01:10:12No, not at all.
01:10:14I love it when he gets angry.
01:10:15He becomes a fierce wolf.
01:10:17It must be fascinating.
01:10:19Yes.
01:10:20Jill.
01:10:24The wolf.
01:10:31What's going on?
01:10:32Jill, there will be no more music today.
01:10:34No?
01:10:35No, and don't try to persuade me.
01:10:37And don't try to shut me up.
01:10:38In fact, there will be no more Sebastian today.
01:10:41He won't be there for lunch.
01:10:43And dinner is quite unlikely.
01:10:45If you're going to take it that way.
01:10:46That's how I take it.
01:10:47Jill, I can be a very difficult person.
01:10:50Goodbye.
01:10:51Goodbye.
01:10:58How funny.
01:11:01I hope poor Larry has a good time like me.
01:11:03Well, when I saw him in Monte Carlo.
01:11:05Oh, yes.
01:11:06I guess it was another of those boring business dinners.
01:11:08All older people, right?
01:11:10Just a woman, more or less your age.
01:11:15Attractive?
01:11:16No, I didn't think so.
01:11:18But George and Freddy loved it.
01:11:21You know how George and Freddy are.
01:11:23But don't you care?
01:11:24Sure, I don't care.
01:11:27Larry has a right to have fun.
01:11:30If he likes that life.
01:11:43Yes?
01:11:45Oh, hello, Sally, darling.
01:11:49I'm fine, despite what happened.
01:11:51And you?
01:11:55That's it.
01:11:57What?
01:12:00I'm sure you took it when you left Monte Carlo.
01:12:03One moment.
01:12:13Hey?
01:12:14Yes, he's here.
01:12:16Okay.
01:12:18Goodbye.
01:12:26Hello.
01:12:29Hello.
01:12:31Are you going to kick me out?
01:12:33Jill, you shouldn't come here.
01:12:35It's a little violent.
01:12:37Well, as it was before.
01:12:39But if Sebastian finds out ...
01:12:41Oh, don't worry about that.
01:12:42I'm worried.
01:12:44He's going to get married soon.
01:12:46He shouldn't visit a single man.
01:12:48And less without prior notice.
01:12:51One moment.
01:13:00Well?
01:13:02Am I bothering you?
01:13:04Jill, why did you want to see me?
01:13:06Is there someone?
01:13:07What do you want, Jill?
01:13:08I was passing by here, with the car.
01:13:10Oh, with the car on the 31st floor.
01:13:13You said you wanted to have a memory.
01:13:15And how I was going to have tea with Silvia.
01:13:17And I had to stop by here.
01:13:19I picked up a couple of things.
01:13:21Some photos of us together.
01:13:23I thought it would make you happy.
01:13:27Aren't you going to look at them?
01:13:28Oh, yes.
01:13:30The day we met.
01:13:32Here you are sitting on my lap.
01:13:34Our wedding, our honeymoon.
01:13:36Very beautiful, thank you.
01:13:38Anything else?
01:13:40I heard you were in Monte Carlo.
01:13:43Are you sleepy?
01:13:45Yes.
01:13:47Well, it reminds me of Silvia.
01:13:49Who?
01:13:50You were going to have tea with Silvia, remember?
01:13:52Oh, yes, yes.
01:13:54I really like this, Larry.
01:13:56It's beautiful.
01:13:57And cozy.
01:13:59Yes, very cozy.
01:14:05It's decorated with good taste.
01:14:07It's beautiful.
01:14:08So intimate.
01:14:09Some beautiful curtains.
01:14:11And a divine view.
01:14:13Yes, a divine view.
01:14:19I'm sorry.
01:14:21How stupid I was.
01:14:23Forgive me, please.
01:14:26Larry, it's all my fault.
01:14:28Oh, it's not bad that it doesn't come for good.
01:14:31You're not serious, are you?
01:14:32Of course I'm serious.
01:14:34Larry, please don't force me to go to Philadelphia, please.
01:14:37Oh, the lady has changed her mind.
01:14:40She's tired of her marriage and she's going for the good ones.
01:14:43She doesn't care about making her husband look ridiculous or hurting him.
01:14:47She's fed up with piano music, she comes back and says,
01:14:50It was just a little whim of mine, so please come back to our sweet home.
01:14:54You destroy our life and you think you can rebuild it in one afternoon.
01:14:58No, it's not that easy.
01:15:01I didn't think it would be easy.
01:15:03To tell you what I think of you, I need more than one afternoon.
01:15:08What about dinner?
01:15:10Dinner?
01:15:11Could we have dinner together tonight?
01:15:14I'm sorry, I have an appointment.
01:15:16Oh, that girl.
01:15:18Yes, and I don't like your tone of voice.
01:15:20I'm sorry.
01:15:22What do you want, to spoil Sunday for that poor girl?
01:15:26Sally doesn't have holidays every day, she works a lot.
01:15:29Oh, she works.
01:15:31What's wrong with that?
01:15:32Nothing.
01:15:34They don't serve everything on a tray like you do.
01:15:37She doesn't visit art galleries,
01:15:39she doesn't flirt with mediocre musicians,
01:15:41she doesn't visit psychoanalysts.
01:15:43She doesn't have a husband to pay for her complexes.
01:15:46Sally is an excellent girl, superior to your Mr. Sebastian.
01:15:49And she doesn't wear my shirts.
01:15:51And he does?
01:15:53No, forget it.
01:15:55Here you promised to love, honor and obey.
01:15:58And here, the day we met.
01:16:03In that photo I'm horrible.
01:16:05But you were great.
01:16:07You didn't get bored when I talked about insurance.
01:16:09You listened, you wanted to know everything about me and my work.
01:16:12You wanted to help.
01:16:13Oh, Larry.
01:16:14And here, I remember everything you told me.
01:16:18I would love to tell you again if you let me.
01:16:22You would forget it again.
01:16:23No, Larry, I would never forget it again.
01:16:26I can't keep pretending.
01:16:28I'm defeated.
01:16:32Well.
01:16:38Yes, I don't forget this tree in front of the hotel door.
01:16:41And the Italian waiter, so funny.
01:16:43It wasn't here.
01:16:44Yes, yes.
01:16:45No, it wasn't here.
01:16:46It was here.
01:16:47Yes, it's true.
01:16:48On the terrace.
01:16:51Our first breakfast.
01:16:52Yes.
01:16:53Oh, Larry, couldn't we have dinner together?
01:16:56Not tonight.
01:16:57Why not?
01:16:59Sally.
01:17:00Let me talk to him.
01:17:01No, no.
01:17:02She's a woman.
01:17:03She'll understand.
01:17:04No, no.
01:17:05Please, Larry.
01:17:07Well, you don't deserve it, but I'll see what I can do.
01:17:11Thank you, darling.
01:17:12Don't move.
01:17:17He's going to be very violent.
01:17:39Sally Egans.
01:17:41Egans.
01:17:43That girl.
01:18:05Keeks.
01:18:14How are you, Miss Egans?
01:18:17Hello, Mrs. Baker.
01:18:19I'm glad to see you.
01:18:22Mr. Baker would have loved to see you, but he's very busy.
01:18:26Oh, he asked me to give you his bag.
01:18:29Oh, yes, I had forgotten.
01:18:31I did some machine work for Mr. Baker.
01:18:34Machine?
01:18:35On Saturday night?
01:18:37Oh, well, I also did some calligraphy.
01:18:40Sure, and I came to take notes.
01:18:42Oh, yes.
01:18:43I'll call you another day.
01:18:45Goodbye, Miss Egans.
01:18:47Goodbye, Mrs. Baker.
01:18:53What a fool.
01:18:59What a fool.
01:19:24Impossible.
01:19:29It's more complicated than I thought.
01:19:31That girl is in love with me.
01:19:33She adores me.
01:19:34I'm not surprised.
01:19:35She says she can't live without me.
01:19:37And I believe her.
01:19:38Me too.
01:19:39It's understandable.
01:19:40You're a wonderful man.
01:19:43Oh, yes, yes, you are.
01:19:46What about dinner?
01:19:47You know I can't.
01:19:49And after dinner?
01:19:52Oh, no, no, no, no.
01:19:54Then I can't.
01:19:55You're right.
01:19:56It's impossible.
01:19:58It's a shame, Jill.
01:19:59Everything could have been wonderful.
01:20:01Yes.
01:20:02Nothing would have ruined our happiness.
01:20:04Yes, but it's too late.
01:20:06Yes.
01:20:07This seems like the end.
01:20:08Goodbye, Larry, and good luck.
01:20:13Good luck.
01:20:26I'll try to convince her.
01:20:42Yes, but...
01:21:12Don't play so loud, please.
01:21:42Don't play so loud, please.
01:22:12Wait.
01:22:18Wait.
01:22:48Don't play so loud, please.
01:23:18Don't play so loud, please.
01:23:24Don't play so loud, please.
01:23:30Don't play so loud, please.
01:23:36Don't play so loud, please.
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