- 5 months ago
LOS PELIGROS DE LA GLORIA (SOMETHING TO SING ABOUT, 1937, Full movie, Spanish, Cinetel) HD
Category
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Short filmTranscript
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00:11:50Yes, thank you very much.
00:11:54Hello, Beo. Here is your star, any old love. Her name is Terry Rooney.
00:11:59Hello, Mr. Reagan. I'm glad to be here.
00:12:09Well, he's glad to be here, right? He's glad to be here? Naturally.
00:12:15Hollywood is the goal of any actor who has ambition.
00:12:18You're wrong, Beo. He's not an actor. He's a dancer.
00:12:21Hollywood is the goal of any dancer, and Benetton Reagan will try to make you an actor.
00:12:27Thank you, Mr. Reagan. Thank you very much.
00:12:29Come on, please.
00:12:30Yes, Mr. Reagan.
00:12:34Come right now.
00:12:37Come to my office right away.
00:12:40In Hollywood, Mr...
00:12:42Rooney.
00:12:43Rooney, yes, thank you. In Hollywood, Mr. Rooney, we are creators.
00:12:47We don't just create movies, actors and actresses, you know, we create them and mold them.
00:12:54We even try to mold dancers.
00:12:57You'll see.
00:12:58Please, please, don't move your head. I'm talking to you.
00:13:02I'm very sorry.
00:13:04Does your hair always comb like this?
00:13:07Well, yes, yes, always.
00:13:12But I can change if it's important.
00:13:14Important.
00:13:16Impor...
00:13:19Important.
00:13:24You're going to meet the trio of death.
00:13:26Gentlemen.
00:13:27Mr. Reagan.
00:13:28This is Mr. Terry Rooney, the protagonist of any old love.
00:13:31Mr. Eistmann, from the makeup department.
00:13:39What a hairstyle!
00:13:41Wow!
00:13:42It belongs to a completely different face, Mr. Reagan.
00:13:45Well, fix it.
00:13:48As if it were easy.
00:13:49Mr. Ariani, our wardrobe expert.
00:13:55What clothes.
00:13:56A gentleman would never wear this clothes.
00:13:58Of course, of course, that's why I made you come here.
00:14:00Mr. Farley, the director of dialogues.
00:14:04Whistling
00:14:10Tell me something.
00:14:12Well, at this moment I don't know what to say.
00:14:16Do you want to repeat what you said, please?
00:14:20I said that at this moment I don't know what to say.
00:14:23Repeat it again.
00:14:27I said that at this moment I don't know what to say.
00:14:32Impossible.
00:14:34Your diction, those R's, will take me months.
00:14:37And your voice is very deficient.
00:14:40I leave it in your hands.
00:14:42Gentlemen.
00:14:43Yes, Mr. Reagan.
00:14:44You have a lot to do.
00:14:45I'll give you two weeks.
00:14:46Yes, Mr. Reagan.
00:14:53Do you understand?
00:14:54When you breathe, you must remember the diaphragm.
00:14:57It is very important.
00:14:59Like this.
00:15:01I thought you knew how to breathe.
00:15:03I've been doing it for a long time.
00:15:05Please, let's do pronunciation exercises.
00:15:08Look.
00:15:12The dog of San Roque has no tail because Ramón Ramírez ha ha
00:15:17because Ramón Ramírez has stolen it.
00:15:20Do I say it?
00:15:21Yes, like me.
00:15:23Here I go.
00:15:29The dog of San Roque has no tail because Ramón Ramírez has stolen it.
00:15:35Please, don't say it like me.
00:15:37Do it as I told you.
00:15:39And in a lower tone.
00:15:40A lower tone?
00:15:41Yes.
00:15:43The dog of San Roque has no tail because Ramón Ramírez has stolen it.
00:15:46Please.
00:15:47Roque no.
00:15:48Roque.
00:15:49I said Roque.
00:15:50Podque no.
00:15:51Podque.
00:15:52I said Podque.
00:15:53Podque.
00:15:55I want you to hear all the R's well.
00:15:58All the R's.
00:16:00You, R that R.
00:16:03The dog of San Roque has no tail because Ramón Ramírez has stolen it.
00:16:08The dog of San Roque has no tail because Ramón Ramírez has stolen it.
00:16:14The dog of San Roque has no tail.
00:16:18Mr. Rooney, please.
00:16:19Listen.
00:16:20I am a calm and quiet man.
00:16:22I don't mind being here holding his punctures,
00:16:24but if he tickles me, I'll put a leg on his neck so he can use it as a scarf.
00:16:28I'm sorry, but the jacket must fit him perfectly.
00:16:35The dog of San Roque has no tail because ...
00:16:38Would you mind taking off a little of the jacket?
00:16:42Do it yourself.
00:16:48You're welcome.
00:16:49The dog of San Roque has no tail.
00:16:51The dog of San Roque has no tail because Ramón Ramírez has stolen it.
00:16:57Mr. Rooney, don't be offended, but you're distracting me.
00:17:02The dog of San Roque has no tail.
00:17:06Did I pronounce it right?
00:17:09Are you trying to provoke me?
00:17:11Don't be angry.
00:17:12It's just a pronunciation exercise.
00:17:15When I see the line you have, I feel like committing suicide.
00:17:20One second.
00:17:21Just one second.
00:17:22I want you to see this.
00:17:23It will fit you very well.
00:17:24I give you my word that it will fit you very well.
00:17:26Look, Robert Taylor ...
00:17:28Listen, I've heard everything I wanted to hear about Robert Taylor.
00:17:32Maybe my face is not to be bragged about,
00:17:35but I won't wear a widow's veil.
00:17:37But I ...
00:17:38I've had this face for a long time.
00:17:39I've washed it, I've shaved it, I've sung with it,
00:17:42and more than once I've fallen on it.
00:17:44And if he doesn't like it, I'll take it right away to where it came from.
00:17:47But I won't wear a widow's veil, you know?
00:17:51Oh, the Academy Award.
00:17:53Yes, the Academy Award.
00:17:55Oh, that's great.
00:17:56What movie did you win it with?
00:17:58Well, we haven't won the Oscar for any movie yet,
00:18:01but I thought it would be a good idea to have it here to get used to it.
00:18:04Yes, we get used to so many things in Hollywood.
00:18:08Yes, it's nothing.
00:18:11Have you noticed how overwhelmed Terry Rooney was today?
00:18:15Oh, yes, I was very overwhelmed.
00:18:17He needs so many things, that boy.
00:18:20It's true.
00:18:21But I'm not interested in your stars of the future.
00:18:24No?
00:18:25No, no, no, no.
00:18:26To be able to interpret, I need an actor.
00:18:29Well, of course, Steffi.
00:18:31I know you have the freedom to choose the main actors of your movies,
00:18:35but in this case, I think you're wrong.
00:18:38But I don't run an acting school.
00:18:40No, Steffi, of course not.
00:18:43I only ask for an acting school that agrees with my talent.
00:18:47Well, Steffi, I'll think about it.
00:18:51Goodbye, Steffi.
00:18:53Au revoir.
00:18:55Oh.
00:18:57She's selfish and conceited.
00:19:00What do you think she's doing?
00:19:02Who do you think she is?
00:19:03Yes, sir.
00:19:04Miss Stephanie Hayes.
00:19:06Studio Color.
00:19:07Dear Miss...
00:19:09Where's Blake?
00:19:11In the dressing room, rehearsing with Terry.
00:19:13I have to see him.
00:19:15Ready?
00:19:16All set.
00:19:17Very good.
00:19:21And how are you, Terry?
00:19:22Do you know the text or do you want to read it again?
00:19:24I think I already know it.
00:19:25If you want, we can shoot.
00:19:26Very good, let's shoot.
00:19:27Come on, come on, guys.
00:19:28Come on.
00:19:30Hurry up.
00:19:31There's another one.
00:19:35Remember, the R's.
00:19:37The R's.
00:19:38Yes, the R's.
00:19:39And the mouth always relaxed.
00:19:40The mouth always relaxed.
00:19:41Very important.
00:19:42Come on, come on.
00:19:43Finish.
00:19:44Let's shoot.
00:19:45Come on.
00:19:46Ready?
00:19:47Ready?
00:19:48Silence, please.
00:19:50Camera.
00:19:51Rolling.
00:19:53Action.
00:19:55Hey, Hailey.
00:19:56Wasn't Emily coming?
00:19:58Blaine.
00:20:00Mr. Blaine.
00:20:01Cut.
00:20:02Wow.
00:20:04You can rest.
00:20:11I've seen your rehearsals this morning and I liked it a lot.
00:20:14The boy knows how to act.
00:20:16The truth is that I liked it.
00:20:18But I don't want him to know.
00:20:21You don't want him to know?
00:20:22No.
00:20:24Tell him he's not doing it right.
00:20:26How do you want me to get him to act if I constantly tell him he's not doing it right?
00:20:30Tell him that it will take five years to make him an actor, but don't speak well of him.
00:20:35And I'll fire whoever says he's good.
00:20:38If I'm really that bad in this movie, as they say,
00:20:41I'm going to make the most impressive stingy flight in history.
00:20:44It's funny for you to make fun of your humble servant.
00:20:48It's not a joke, Ito.
00:20:49The director doesn't think so.
00:20:51Yes, please.
00:20:53Sir, do you want your humble servant to bring dinner?
00:20:56No, no, thank you.
00:20:58I'm sick and tired of eating at this inn.
00:21:00Yes, please.
00:21:03You know, Ito,
00:21:05you're the only one in this studio who's worthy of speaking to me.
00:21:08And everything you say is, yes, please.
00:21:12Do you prefer me to speak normally, Mr. Rooney?
00:21:17It was you?
00:21:18Yes, sir.
00:21:19My old bosses considered that the accent conferred a certain dignity.
00:21:25Listen,
00:21:27you won't tell me that your previous way of speaking is pure comedy.
00:21:31That's right, sir.
00:21:34Take that chair.
00:21:37Sit down.
00:21:40I want to talk to you.
00:21:42Tell me about yourself.
00:21:43I came here hoping to be an actor.
00:21:46And they couldn't mold you.
00:21:48They didn't even try.
00:21:49Tell me,
00:21:50do you like being a camera assistant?
00:21:53Very much.
00:21:54When I was an actor, I spent a lot of time between two meals.
00:21:57Where are you going to have dinner?
00:21:59I know a place in Hollywood Boulevard
00:22:01where they have wonderful schnitzel dinners.
00:22:04Can I go with you?
00:22:06Well, I find it very violent, but...
00:22:08I have a date with a girl and I...
00:22:10I'm sorry, I shouldn't have even mentioned it.
00:22:12Forget it.
00:22:13You'll probably be late for the date.
00:22:15Oh, thank you.
00:22:16Please.
00:22:17And stop bothering me, okay?
00:22:19Thank you, please.
00:22:20Mr. Rooney, goodbye.
00:22:21Do you want to come with me?
00:22:22Get out.
00:22:29What an extraordinary story.
00:22:36A Japanese who speaks better than me.
00:22:39And who eats schnitzel.
00:22:43This can go with me.
00:22:47Hey, miss.
00:22:48I'd like to put a conference in New York.
00:22:51Yes, please.
00:22:59Hold it! Hold it, please! Hold it!
00:23:02Rita, they're calling you from Hollywood.
00:23:04Hey, everyone, everyone, silence!
00:23:06It'll be better that way.
00:23:08Yes?
00:23:09Hello, darling.
00:23:11Can you hear me well?
00:23:13Terry!
00:23:14How are you?
00:23:16Oh, worse than the feet of a whale.
00:23:18Fool, whales don't have feet.
00:23:21Have you never seen a whale's foot?
00:23:23No, I've never seen a whale's foot.
00:23:27You've never seen a whale's foot?
00:23:29You'd be surprised.
00:23:33It was fun when I got there and I thought I'd do with it.
00:23:36But now it's turning into a nightmare.
00:23:39Hey, let's not talk about that now.
00:23:40Forget it.
00:23:41How are you?
00:23:42We've composed a song.
00:23:44That's good.
00:23:46Darling, sing it to me.
00:23:49I don't care if it costs me a million.
00:23:51Sing.
00:23:52No, wait until I get comfortable.
00:23:57Fine, darling.
00:23:58Whenever you want, I'm listening.
00:24:01Come on, hurry, hurry.
00:24:05Ready?
00:24:27What was the world where I
00:24:33Wouldn't have been if I wasn't here
00:24:40Only know that you're the one I care for
00:24:47Trying to reason wouldn't do no good
00:24:57Trying to reason wouldn't do no good
00:25:04Trying to reason wouldn't do no good
00:25:14Trying to reason wouldn't do no good
00:25:21Oh, beautiful, beautiful.
00:25:23Thank you, sir.
00:25:24Right or wrong, right or wrong
00:25:31Please, I know
00:25:35For all that my heart doesn't know
00:25:42I would be a slave in your arms
00:25:50Right or wrong, we are near
00:25:58Am I fair?
00:26:01Every doubt that I have is a fear
00:26:08But we try when we can
00:26:16The thoughts of my love in your arms
00:26:22Right or wrong, we're near
00:26:29When each beat of my heart knows so well
00:26:36Though life may be hell or heaven
00:26:43Afraid of love, right or wrong
00:26:54Come on, hang up.
00:26:56Don't break my heart.
00:26:58Another like this and I'll cut my throat.
00:27:01I want to go back.
00:27:03Please, hang up.
00:27:05Don't make me hang up, you do it.
00:27:07Let's all be quiet.
00:27:09Attention, attention.
00:27:11We'll shoot with this camera.
00:27:13Listen to me for a second.
00:27:15I want you to take that giraffe as far away as possible
00:27:17and make a shot of the whole set.
00:27:19Is that clear?
00:27:20Take the giraffe as soon as you're ready.
00:27:23How are the lights?
00:27:24Is everything in order?
00:27:25Everything's ready, Mr. Blaine.
00:27:27Now listen, guys.
00:27:28Everybody, please.
00:27:31Hey, Rooney, don't play with the set.
00:27:33Andy, Andy, it doesn't matter.
00:27:34Sorry, I was just...
00:27:35Good, Mr. Blaine.
00:27:37Listen to me, everyone.
00:27:38This is the last scene of the film
00:27:40and we're going to do it very well.
00:27:42I don't want a big fight,
00:27:43but I want it to look authentic.
00:27:44Understood?
00:27:45Good.
00:27:46Everybody ready.
00:27:48By the way, Terry, come here.
00:27:50You've never played a fight, have you?
00:27:53No, never.
00:27:54Do you like to fight?
00:27:55No, no.
00:27:57Well, don't worry.
00:27:58It's very simple.
00:28:00It depends on the camera angle.
00:28:02Look, we'll stand at an angle
00:28:04so that when the camera passes in front of you,
00:28:06you do this.
00:28:08It's a simulation.
00:28:10Put your head down.
00:28:11What?
00:28:12Ready?
00:28:13Here I go.
00:28:15It's very simple.
00:28:16So simple?
00:28:17So simple.
00:28:18Good.
00:28:19Hey, do all these people know how to do it like you?
00:28:21Oh, yes.
00:28:22Don't worry about it.
00:28:23They've been doing it for years.
00:28:25By the way, you're not afraid, are you, Terry?
00:28:28No, no, no.
00:28:29Don't worry.
00:28:30They hit him hard.
00:28:31I don't like working for him.
00:28:32I hope someone with a punch
00:28:34can make him vocalize well.
00:28:35Me too.
00:28:36No, sir.
00:28:37I've been the protagonist for months.
00:28:39Look at this.
00:28:41Hello, friend.
00:28:43You're not afraid, are you?
00:28:46Can you repeat it?
00:28:47Of course.
00:28:48Very good.
00:28:49You try it.
00:28:51You want me to try it?
00:28:52Yes.
00:28:53Come closer.
00:28:54Of course.
00:28:57Very good.
00:28:58Is that okay?
00:28:59Yes, Terry.
00:29:01Thank you very much.
00:29:05Very bad.
00:29:06Very bad.
00:29:07Very bad.
00:29:08Come on, come on.
00:29:09Everyone ready and quiet.
00:29:10We're going to shoot.
00:29:11Come on, guys.
00:29:12I want to explain the scene to you again before we shoot.
00:29:14Attention.
00:29:15In front of the camera, you, Terry, go down the stairs.
00:29:18Understood?
00:29:19Joey and Eddie, you hide back here.
00:29:21And while you go down, they watch you.
00:29:23I don't like this.
00:29:24I don't like it.
00:29:27I just hope they give him a good punch.
00:29:30You have to fall, let's say, here.
00:29:32Right here?
00:29:33Yes, right here.
00:29:34Right here.
00:29:35Okay?
00:29:36Good.
00:29:37Good.
00:29:38Silence, please.
00:29:39Very good.
00:29:40We're going to do a take.
00:29:41Ready the cameras, ready the sound.
00:29:45And I fall here?
00:29:46That's it.
00:29:47Good.
00:29:50Everyone in place.
00:29:52Camera ready.
00:29:54Sound ready.
00:29:55Plate.
00:30:00Action.
00:30:22Gordon.
00:30:23Good, perfect.
00:30:26Let the cameras keep rolling.
00:30:28Let's go.
00:30:29Hurry up.
00:30:30Sound people, keep recording.
00:30:38Very good.
00:30:39Fantastic.
00:30:46Kill them.
00:30:49I say it was fantastic.
00:30:53I say it was fantastic.
00:31:13Put this in your camera.
00:31:23Help.
00:31:34What's going on here?
00:31:37We'll talk later.
00:31:42One, two, three, four, five, six.
00:31:51That's it.
00:31:52Yes, please.
00:31:57Yes?
00:31:58Hello, dear.
00:31:59I'm done.
00:32:00Terry?
00:32:01Are you okay?
00:32:03Look, take the first flight to San Francisco.
00:32:06I'll go to the airport.
00:32:08Great.
00:32:09But where are we going?
00:32:12I don't know where we're going, but we'll go far away from where they make movies.
00:32:16Okay.
00:32:17I love you, honey.
00:32:18I'll wait for you.
00:32:19Goodbye, dear.
00:32:20Goodbye.
00:32:41I've never felt so happy in my life.
00:32:44Where are we going now?
00:32:46To the town hall for a license.
00:32:48Look, Rita, I have to confess something to you.
00:32:51If you've fallen in love with someone else, I don't want to know.
00:32:53No, no, no, that's not it.
00:32:54I must confess that my name is not Teddy Rooney.
00:32:57I'm going to tell you very, very slowly.
00:32:59My name is...
00:33:01McGillicuddy.
00:33:02What?
00:33:03McGillicuddy.
00:33:04McGillicuddy?
00:33:06But that's not the worst part.
00:33:07My name is Taddeo.
00:33:10Mrs. Taddeo McGillicuddy.
00:33:12Can you handle that?
00:33:15I've always wanted to be Mrs. Taddeo McGillicuddy.
00:33:18And where are you going, Mr. McGillicuddy, honey moon?
00:33:22To the South Seas.
00:33:23And we're boarding tonight, and what's more,
00:33:25we're going on a private, but very private, steamboat.
00:33:29Steamboat?
00:33:31And we're the only passengers.
00:33:33How wonderful.
00:33:40Do you like it?
00:33:41It's the most beautiful steamboat I've ever seen.
00:33:43Hello.
00:33:44This is my wife.
00:33:45Hello.
00:33:46Let's go aboard.
00:34:04Listen, Blayne.
00:34:05I want a movie by Terry to present to the critics.
00:34:07I want it right now.
00:34:08But Reagan, we're doing everything we can.
00:34:10We work 24 hours a day.
00:34:12Well, work 25 hours a day if necessary.
00:34:14Well, and when will you have the movie?
00:34:16In about three weeks.
00:34:18Let it be two.
00:34:26Editing?
00:34:27When will the movie by Terry be ready?
00:34:29In a little while, it will take two weeks.
00:34:32One!
00:34:36Damn rushes.
00:34:39Hey, Harris, where's the sequence for Terry's first shot?
00:34:43It's in that can.
00:35:08It's in that can.
00:35:09It's in that can.
00:35:10It's in that can.
00:35:11It's in that can.
00:35:12It's in that can.
00:35:13It's in that can.
00:35:14It's in that can.
00:35:15It's in that can.
00:35:16It's in that can.
00:35:17It's in that can.
00:35:18It's in that can.
00:35:19It's in that can.
00:35:20It's in that can.
00:35:21It's in that can.
00:35:22It's in that can.
00:35:23It's in that can.
00:35:24It's in that can.
00:35:25It's in that can.
00:35:26It's in that can.
00:35:27It's in that can.
00:35:28It's in that can.
00:35:29It's in that can.
00:35:30It's in that can.
00:35:31It's in that can.
00:35:32It's in that can.
00:35:33It's in that can.
00:35:34It's in that can.
00:35:36A bona fide collector of anything to do with love.
00:35:40And if you should find a moon up in the sky and love on your mind, babe, don't you cry.
00:35:47Just save it till I come your way.
00:35:51Any old love today?
00:35:57Oh mister, how about tonight?
00:36:05Any old love today?
00:36:13Any old love today?
00:36:23Any old love today?
00:36:29Terry should be here to sign the contract.
00:36:32Is Terry there?
00:36:34He's not here, Mr. Regan.
00:36:35Look for him, we're waiting for him.
00:36:38Good, good. I'm tired of saying good.
00:36:41Oh, Hank, something terrible has happened. We can't find Terry Rooney.
00:36:45He's disappeared. He's gone.
00:36:46We can't find him?
00:36:47He's evaporated.
00:36:48I understand.
00:36:51And Regan scares us.
00:36:53Don't worry, I'll tell him.
00:36:56What do you say?
00:36:57I hope that boy doesn't commit suicide.
00:36:59That's ridiculous.
00:37:00Yes? He's been mistreated here.
00:37:03I make him a star and you call that mistreatment?
00:37:06Pick up the phone and call his orchestra in New York.
00:37:08Hank, we have to find that boy.
00:37:10First, I'll make the people drool.
00:37:12Hank, Hank, please. Stop, Hank.
00:37:14Listen, old friend, dear comrade.
00:37:16Now I depend on you more than I have ever depended on my life.
00:37:19Hire detectives, do whatever you want.
00:37:21But find Terry and bring him here before he knows he's been successful.
00:37:24Run, run.
00:37:25But first, I'll go to the funeral.
00:37:33Good, good, excellent, good, excellent.
00:37:37Listen, listen.
00:37:39Terry Rooney disappeared.
00:37:42The search for the missing star reveals dirty evidence.
00:37:45The nation is moved by Rooney.
00:37:49Any news?
00:37:51Goodbye.
00:37:53Nothing new.
00:37:55So much work, waiting and concern for what?
00:37:59For nothing.
00:38:00We are just like when we started looking for our star.
00:38:04God, why do you punish me this way?
00:38:09Do you bring news?
00:38:10Many, but all bad.
00:38:12Everything is a mystery.
00:38:14And I can't get my head off the idea of a suicide.
00:38:17How can you torture me again with that word?
00:38:19You are fired.
00:38:20I have as much interest as you in finding him.
00:38:22The other day he borrowed me five dollars.
00:38:25Five dollars, five dollars.
00:38:28And I'm talking about millions.
00:38:30For what I charge, five dollars is a lot.
00:38:32Find him and I'll double your salary.
00:38:34I find him and you sink me.
00:38:35I mean, I'll find him.
00:38:36One moment.
00:38:38It will not be one of your tricks.
00:38:40You will not want to hurt me.
00:38:41Oh, I see.
00:38:42I would never deceive you.
00:38:49Terry Rooney, where are you?
00:38:52My poor Terry.
00:39:00We are witnessing a very strong and high-quality fight.
00:39:03The white cat attacks a car with a left-right hook.
00:39:06And the brown cat resists, but fits sporadically.
00:39:10The white cat continues in his attack, but the brown cat reacts.
00:39:13Left, right, let's go.
00:39:14That's it, yes and yes.
00:39:16Watch out, the white cat now tips a punch to his enemy and throws it.
00:39:23Eight, nine, ten and KO, my friend.
00:39:25New champion of the world of cat weights.
00:39:28Instead of hitting so much, he should dedicate himself to hunting the rats of the winery.
00:39:52One, two, three, four.
00:40:22Shhh.
00:40:52Shhh.
00:41:22Shhh.
00:41:23Shhh.
00:41:24Shhh.
00:41:25Shhh.
00:41:26Shhh.
00:41:27Shhh.
00:41:28Shhh.
00:41:29Shhh.
00:41:30Shhh.
00:41:31Shhh.
00:41:32Shhh.
00:41:33Shhh.
00:41:34Shhh.
00:41:35Shhh.
00:41:36Shhh.
00:41:37Shhh.
00:41:38Shhh.
00:41:39Shhh.
00:41:40Shhh.
00:41:41Shhh.
00:41:42Shhh.
00:41:43Shhh.
00:41:44Shhh.
00:41:45Shhh.
00:41:46Shhh.
00:41:48Shhh.
00:41:51Shhh.
00:41:53Oh
00:42:23¿Te preocupa? No.
00:42:25No, no, no te lo quites, si no tendrás frío.
00:42:28Vamos a salir a dar un largo paseo para pisar tierra firme.
00:42:31¿Vale? Terry, es una idea fantástica.
00:42:34Yo solo quiero complacerte.
00:42:36Es más, es lo único que me importa.
00:42:41¿Cómo te encuentras ahora? Muchísimo mejor.
00:42:44¿Y las piernas, bien? Sí.
00:42:46¿Contenta? Sí.
00:42:49Tengo algo raro en la cara.
00:42:51No sé qué pasa, que todo el mundo me está mirando.
00:42:53Es que eres muy guapo, cariño.
00:42:55¿Es por eso? Sí.
00:42:56Bien, tú lo has dicho.
00:42:58Mira lo que hay aquí, Rita.
00:43:00Una sala de cine.
00:43:02¿Sabes que muchos actores se pasan el día haciendo toda clase de muecas?
00:43:06¿De verdad?
00:43:07Conozco a uno, por ejemplo.
00:43:09Hacen cosas así.
00:43:10La toma doble.
00:43:12Y luego está la toma triple, que era así.
00:43:16Y había otra toma triple, con sorpresa.
00:43:19Y al final se guiñaba un ojo, así.
00:43:27Y también...
00:43:28Haz otra.
00:43:29¿Otra? Un tal Charlie Murray hacía esto.
00:43:36Vámonos de aquí.
00:43:39Rita, ¿te das cuenta de lo que has conseguido?
00:43:42Me ha tomado por un loco.
00:43:44Venga, pon más caras.
00:43:46Cuando la gente deje de mirarme.
00:43:51¿Es mi imaginación?
00:43:53¿O esa es mi voz?
00:43:55Claro que es tu voz, Terry.
00:43:57¿Estás hablando?
00:43:58No me refiero a eso.
00:44:00Yo me oigo cantar.
00:44:02¿Pero qué dices, Terry?
00:44:04Escucha.
00:44:07Se trata de mi película.
00:44:09¡El señor Terry Rooney!
00:44:11Por favor, acepte esta flor.
00:44:14Muchas gracias.
00:44:15Gracias.
00:44:17Rita, sale de allí.
00:44:26Mira.
00:44:27Hay fotos tuyas pegadas por todos lados.
00:44:30Sí, querida.
00:44:31La han estrenado en nuestra luna de miel.
00:44:34No me habías dicho que habías grabado un disco.
00:44:36Y no lo hice.
00:44:37Será la banda sonora.
00:44:42Perdone, señor Rooney.
00:44:43Es usted un actor muy bueno, muy bueno, muy bueno.
00:44:46Gracias, gracias, señora.
00:44:47Una gran actuación, señora.
00:44:48Gracias, caballero.
00:44:49Me alegro de que haya vuelto.
00:44:51¿Podría verme su autógrafo, señor Rooney?
00:44:53Sí, claro.
00:44:56¿Puede darme su autógrafo, por favor?
00:44:58Gracias.
00:45:03¡Rooney, Rooney, Rooney!
00:45:28Rita, Rita, ¿dónde estás?
00:45:29What's going on? Is there a demonstration or what?
00:45:33No, Terry Rooney is out there.
00:45:35Terry Rooney?
00:45:36Yes, Rooney.
00:45:37Let's go, let's go.
00:45:38Mr. Rooney told me to wait for you at the hotel.
00:45:41I imagine for the end.
00:45:49Rita, Rita, where are you?
00:45:59Terry Rooney.
00:46:01Get out of the dressing room.
00:46:02Put me with the Gallor studios right now.
00:46:04Yes.
00:46:05Hey, what's going on here?
00:46:06And you ask me.
00:46:07Do you want to tell me where he had gone?
00:46:08Yes, in the South Pole.
00:46:09Why?
00:46:10And you ask me.
00:46:11Give me the phone.
00:46:12Give it to me.
00:46:16Say.
00:46:17Hello, I am the manager of the Strand Theater in San Francisco.
00:46:20Terry Rooney is in my office.
00:46:23Who?
00:46:24What?
00:46:25Do not hang up.
00:46:27Rooney.
00:46:28They have found him.
00:46:29In San Francisco.
00:46:31The phone.
00:46:32What?
00:46:33Yes.
00:46:37Mr. Reagan, Mr. Reagan.
00:46:39They have found Terry Rooney in San Francisco.
00:46:41The phone.
00:46:42Hello, hello.
00:46:44Pass the call to Mr. Reagan.
00:46:46Call the airport and ask when the next flight to San Francisco leaves.
00:46:49Run.
00:46:50Give me the phone.
00:46:52Mr. Reagan wants to talk to you.
00:46:54Reagan?
00:46:56Hello, I see.
00:46:58Who?
00:47:00Hello, Hank.
00:47:01Where are you?
00:47:02Have you spoken to the press?
00:47:04I have not spoken to anyone.
00:47:05With no one.
00:47:06Except with a crazy manager, if that's what you care about.
00:47:09It is better that you do not talk to anyone.
00:47:10Do not.
00:47:11Do not talk to anyone.
00:47:12Do not.
00:47:13Do not even talk to you.
00:47:14Do not.
00:47:15Agree, but they have crushed my hat.
00:47:16We will go there immediately by plane.
00:47:18Yes, right now.
00:47:19We're going to the airport.
00:47:20And Terry, please, do not talk to anyone.
00:47:22Hide until we get there.
00:47:24Understood?
00:47:25Goodbye, boy.
00:47:26Come on, I see, he's waiting for us.
00:47:27Yes, yes, yes.
00:47:28Oh, the contract.
00:47:31And thank you, thank you very much.
00:47:32Thank you for what?
00:47:33For so much publicity, Mr. Rooney.
00:47:34You can not imagine.
00:47:37It seems that you like the movie.
00:47:38Like.
00:47:39Like.
00:47:48Can you hear me?
00:47:49Yes.
00:47:50Do you see it over there?
00:47:51Yes, through a window.
00:47:53Well, I for both.
00:47:57Honey, I feel so proud.
00:47:59I do not know what to do.
00:48:03I married a star and I did not know.
00:48:07It does not matter.
00:48:09Anyone in my place would have done the same.
00:48:12Terry, will not you be giving a sharp attack of vanity?
00:48:16Yes, I'm afraid so.
00:48:18I'm getting a great feeling.
00:48:21Now you owe me 129 million dollars.
00:48:25I'll pay you in coins.
00:48:27I settle for some chocolates.
00:48:29Settle for a gum.
00:48:34It will be Hank with his army.
00:48:36And I with this look.
00:48:38Yes, get a little better.
00:48:39I will not say anything about you.
00:48:41You come in by surprise.
00:48:42Do not close it so that I can hear.
00:48:44Okay, I do not want you to miss anything.
00:48:47Who is it?
00:48:48Who is it?
00:48:49Mr. Reagan wants to see you.
00:48:50Reagan?
00:48:51Come this way, sir.
00:48:53Terry, my son.
00:48:54Hello, boss.
00:48:55Hello, Terry.
00:48:56Hank, I'm glad to see you.
00:48:57Look, when I say I'm glad to see you, I just start talking.
00:49:00Hey, Hank, forgive me for having punched you the last time I saw you, but you know.
00:49:04I have not stopped thinking about that.
00:49:05Where have you been?
00:49:06I've broken my spine.
00:49:07Terry, do you have the contract ready to sign?
00:49:09No, I see.
00:49:10First, let's say hello.
00:49:11Then we have a drink and then we talk about the contract.
00:49:14While he talks, look at the figure he puts.
00:49:16Come a moment, Terry.
00:49:20Hank, have you seen this?
00:49:21Of course.
00:49:22Two figures.
00:49:23And you deserve the last penny.
00:49:25Do you know the box office that the movie is doing?
00:49:26A lot.
00:49:27A lot, it's something fabulous.
00:49:29One moment, one moment.
00:49:33I can not sign it.
00:49:34Why?
00:49:36I can not sign it.
00:49:37Why?
00:49:38Hello, honey.
00:49:40This is Mrs. McKinley Cuddy.
00:49:42I introduce you to Hank.
00:49:43Nobody knows his last name and Mr. Reagan.
00:49:45Delighted.
00:49:46But why can not you sign the contract?
00:49:48This is the reason in person.
00:49:50What does Mrs. McKinley Cuddy have to do with the contract?
00:49:53We do not know what you have with this woman, Terry, but the contract ...
00:49:56One moment, you do not understand anything.
00:49:57Rita is my wife.
00:49:58My last name is McKinley Cuddy.
00:50:00And in the contract it is specified that I must remain single.
00:50:03Oh, your wife can not be.
00:50:05You can not have a wife.
00:50:06But I have it and I want to keep it, honey.
00:50:08Read the clause above.
00:50:11Oh, yes.
00:50:12But it's just for a movie.
00:50:13Can we keep it a secret?
00:50:15A movie?
00:50:16Seven years.
00:50:18Look at the salary.
00:50:20But if it is a barbarity.
00:50:22It's a lot of money.
00:50:24Why do not we charge less if we are still married?
00:50:27Thank you for your solution, honey.
00:50:29Can you explain to me what this clause is about?
00:50:31There are no marriages in Hollywood?
00:50:33What is this nonsense?
00:50:35You do not understand.
00:50:36In power you are the young man with whom all the girls want to marry.
00:50:39That is your role.
00:50:40Yes.
00:50:41How wonderful.
00:50:42Can I fix it?
00:50:43Let's see if you can.
00:50:44Look, if you think I'm going to leave this woman for that contract, you're crazy.
00:50:49It has been a pleasure to meet you.
00:50:51But we go back to our thing, to our orchestra.
00:50:56You are very noble, my life.
00:50:58But this is very important to decide so.
00:51:02Why do not I go to Hollywood as a simple tourist?
00:51:05Like Mrs. McKinley Cuddy.
00:51:07Mrs. McKinley Cuddy.
00:51:11What a name, Mrs. McKinley Cuddy.
00:51:14We like it.
00:51:16Is it a joke, Terry?
00:51:18No, no, no, it's the pure truth.
00:51:20I'm sorry, Hank.
00:51:21They did it to me while I was sleeping.
00:51:23Well, you could have woken up.
00:51:25Can I go?
00:51:26Why not?
00:51:28One moment, I think I already have it.
00:51:29Come here, listen to me.
00:51:31Listen, Terry.
00:51:33Would you be willing to come to Hollywood and work as a cover?
00:51:37Yes.
00:51:38Very good, all solved.
00:51:40You're going to do this.
00:51:41You go to Hollywood as Terry's private secretary
00:51:43and you take care of his personal affairs, the mail and those things, huh?
00:51:47Do you want to do it?
00:51:48Of course, honey, I think it's fantastic.
00:51:50You are a genius, sometimes.
00:51:52Sometimes I think I should charge more.
00:51:54Okay, come on, give me the contract.
00:51:56Here it is.
00:51:58Terry Rooney appears.
00:52:00Rooney, healthy and safe.
00:52:08That one?
00:52:09But, but if it's a nobody.
00:52:16Daisy.
00:52:17How are you, Mr. Hank?
00:52:18Very well.
00:52:20Hello, good morning.
00:52:22You are very beautiful.
00:52:23Don't play with me.
00:52:25The first thing I wanted to ask you, what is this?
00:52:27What?
00:52:28Oh, it's a vest.
00:52:30I know, but whose?
00:52:32Whose?
00:52:33I don't know, let me think.
00:52:34Don't hide it, you know.
00:52:36Oh yeah?
00:52:37It's Terry Rooney's.
00:52:38Yeah?
00:52:39You know it perfectly.
00:52:41Five rooms and three bathrooms.
00:52:42Why does that man want so many bathrooms?
00:52:45He doesn't have a bathroom, but he should.
00:52:59Who lives here?
00:53:00Mrs. McGillicuddy.
00:53:02This is her hiding place.
00:53:03Do you remember Mrs. McGillicuddy?
00:53:05Yes, a little.
00:53:06I know her.
00:53:07Will you come to see her?
00:53:09Can I?
00:53:10Every night?
00:53:11No, not every night.
00:53:12The neighbors could talk.
00:53:14Who?
00:53:15The neighbors.
00:53:16The neighbors?
00:53:21I don't care about the neighbors!
00:53:23Shh, shut up.
00:53:24That will entertain them.
00:53:26Hey, why don't you put some light here?
00:53:28Why don't you take off your glasses?
00:53:30Oh, yes, it's true.
00:53:31You are very strange with them.
00:53:33But I have to keep wearing them.
00:53:34Han thinks it's a good idea.
00:53:36I understand.
00:53:39Oh, and here's the staircase.
00:53:41It has the two most beautiful rooms you've ever seen.
00:53:44How many?
00:53:45Two.
00:53:46Well, rent the other one.
00:53:49Do you think I should do it?
00:53:51Work with Terry, huh?
00:53:53That should drag me.
00:53:55Listen, Stacy.
00:53:56If you agree, you will work with Terry Rooney
00:53:58and you will have more publicity than you have ever dreamed of.
00:54:00Imagine,
00:54:01the last love scandal in Hollywood.
00:54:03Do you like it?
00:54:04Well, they'll swallow it.
00:54:06Agree.
00:54:07Very good.
00:54:08Bravo again.
00:54:09I'll take care of starting the story.
00:54:10Leave it to me.
00:54:11I love it.
00:54:12A lot of publicity and a good story.
00:54:13I'll show you how to make publicity.
00:54:14All for me.
00:54:15Agree.
00:54:18Stacy, pretty, what's wrong with you?
00:54:20You're not doing anything for yourself.
00:54:23Can you make a love scene with an ice bar?
00:54:26He doesn't accompany me.
00:54:27I can't.
00:54:28I can't.
00:54:30Terry.
00:54:31Yes, I know, I know, Blaine.
00:54:33Hey, can I put more on the scene if everyone leaves?
00:54:36I can't work with so many strangers around.
00:54:38He's already becoming a capricious.
00:54:40It's just a little while before they start getting sick of him.
00:54:42It's not true.
00:54:43Oh, you too, huh?
00:54:47Don't start getting hooked on that guy.
00:54:49You're not that kind.
00:54:51He only looks at stars like Stephanie.
00:54:54Oh, do you think so?
00:54:56Yes, pretty.
00:54:58It wasn't a whim, Blaine.
00:55:00So many people bothered me.
00:55:02Now I can do the scene.
00:55:03Okay, Terry.
00:55:04Hey, cheer up a little, Stephanie.
00:55:06You need some support.
00:55:07Okay.
00:55:11Stephanie.
00:55:12Yes?
00:55:13Please forgive me for leaving my house.
00:55:15You know, you're a wonderful actress and I'm not even a real actor.
00:55:19I never imagined I'd be on the same set as you.
00:55:21I think I'm a little scared.
00:55:25It shows you're a good boy, Terry.
00:55:27Can we try that again?
00:55:29Of course.
00:55:34Very good.
00:55:35Let's start the scene again.
00:55:36Let's go.
00:55:37Action.
00:55:38But, darling, I can't leave you like this.
00:55:41It would be so difficult, the way things are now.
00:55:44I won't lose hope.
00:55:45It's all I have.
00:55:47Maybe one day, somewhere.
00:55:50No, not somewhere.
00:55:52Not another time, darling.
00:55:54Here and now.
00:55:57Here and now.
00:56:07How's that? Good?
00:56:08Perfect.
00:56:10The boy has talent.
00:56:28I'm sorry I did that to you.
00:56:31I'm sorry.
00:56:32The only reason I showed up for the shoot was because I hadn't seen you in two or three days.
00:56:37Yes, I know.
00:56:39I couldn't do the love scene if you were watching.
00:56:49I had the impulse to do it.
00:56:51I'm sorry.
00:56:53I had the impulse to swing on your arms.
00:57:01I want to do a love scene with you.
00:57:06No, no.
00:57:07Rita, where are you going?
00:57:09No, Terry, no.
00:57:10You're not running away from me.
00:57:11No, but...
00:57:12All the doors are closed.
00:57:14I'm looking for a window.
00:57:15The windows are very quiet.
00:57:17But Ito...
00:57:18Ito is very smart.
00:57:20Ito is very smart.
00:57:26Hello, Terry.
00:57:28You don't know how to knock on the door.
00:57:30I see you're rehearsing that short scene you told me about.
00:57:32Very good.
00:57:33Yes, thank you.
00:57:34I'm glad you like it.
00:57:35You?
00:57:36It's true that you do it well.
00:57:37I want to introduce you to Miss Robbins.
00:57:39How are you, Mr. Rooney?
00:57:41Oh, how are you, Miss Robbins?
00:57:43How are you?
00:57:44Delighted to greet you.
00:57:46We were talking about the personal mail.
00:57:49I thought you were rehearsing.
00:57:51Well, yes, you don't know.
00:57:53Sometimes they rehearse while they look at the personal mail.
00:57:56Oh, I understand.
00:57:57Thank goodness.
00:57:58Mrs. McGilligood, would you like to see if more singers have arrived?
00:58:00I'm coming, excuse me.
00:58:02She's my personal secretary.
00:58:04Very personal, I would say.
00:58:06I would be surprised.
00:58:07And very pretty too.
00:58:09Yes, we agree, right, Terry?
00:58:10To be a secretary, yes.
00:58:12But most girls here have an attraction far above average.
00:58:16Well, if you'll excuse me,
00:58:18I'm going to kiss the little bird before it cuts my neck.
00:58:21Go and don't be in a hurry, Terry.
00:58:23One moment, what have you come here for?
00:58:25To ask a question in my column.
00:58:27What new handsome man have you caught kissing your beautiful secretary?
00:58:32Listen, if you publish that question, you will spoil two lives.
00:58:35What lives?
00:58:36Yours and mine.
00:58:38First, I'll punch him in the nose.
00:58:40And after the punch, I'll lose my job, get it?
00:58:43It will be great news.
00:58:45There is better news around here for someone who has the talent to discover them.
00:58:48What is it?
00:58:50Listen, do you think Terry Rooney would be fooling around with a secretary
00:58:55having a woman as splendid as Stephanie Hayos here in the studio?
00:58:59Oh, Hank!
00:59:02Prepare your pen.
00:59:07That's very interesting.
00:59:09Well, there is something that all our readers would like to know.
00:59:13What is your model of feminine beauty?
00:59:16It's funny that I ask you a question like that.
00:59:18Because this morning Terry was telling me
00:59:21that his ideal of feminine beauty is Stephanie Hayos.
00:59:25Something less sculptural than Venus de Milo, maybe.
00:59:29But more delicate and more passionate.
00:59:32Am I wrong, Terrence?
00:59:33Exactly, those were my words in text.
00:59:36How nice.
00:59:37And now, Mr. Rooney, could you tell me what was your first,
00:59:40your first childhood love?
00:59:42Well, Hank, can I answer?
00:59:45Please.
00:59:47Well, my first, my childhood love
00:59:50was a long time ago.
00:59:53It was the daughter of someone who picked up dogs in my town.
00:59:57And every time my daughter-in-law peed...
00:59:59What?
01:00:00Every time she took my dog, she would give it back to me for good or bad.
01:00:04Actually, it happened so many times that her father believed that my dog was the one who made you.
01:00:08One of Terry's characteristics is his love for animals.
01:00:11Yes, especially for dogs.
01:00:12Please, Mr. Rooney.
01:00:14Excuse me, humble servant.
01:00:16Are you calling me for the shoot?
01:00:18Yes, sir.
01:00:19Oh, I'm very sorry to have to leave you so late.
01:00:21I was delighted to see you.
01:00:22You'll come back, right?
01:00:23Of course.
01:00:24Please do, I had fun.
01:00:25And if you want anything, call Ito, he's here.
01:00:27Hank, thank you very much.
01:00:31What an exotic pet, what's his name?
01:00:33Ito.
01:00:34Ito.
01:00:35Oh, he loves Terry.
01:00:36When Terry disappeared, we had trouble
01:00:38preventing Ito from becoming the Kiriara, the Arakiri.
01:00:42Good interview, right?
01:00:44Did you get something you wanted?
01:00:46A lot.
01:00:52Hi, Terry boy, how are you?
01:00:53Very well.
01:00:54Good, your tickets?
01:00:55Tickets for what?
01:00:57For the premiere of Park Lane tonight, you're going with Stephanie.
01:01:00Oh yeah?
01:01:01I'm not going to any premiere tonight.
01:01:03Why aren't you going to the premiere?
01:01:04Because I don't feel like going to the premiere tonight.
01:01:07I've been working for weeks.
01:01:09Journalists, photographers, they'll all be there.
01:01:11It's important to me.
01:01:12Look, look, you can save yourself the trouble.
01:01:14I'm not going to any premiere.
01:01:16Stay still and let me talk to you, okay, Terry?
01:01:18Why are you so stubborn?
01:01:19And what do you tell me about Stephanie?
01:01:20Since you mention her, you could be her partner.
01:01:23Oh, please, think things over a bit.
01:01:24If I tell you it's important, it's important.
01:01:26I couldn't...
01:01:27Hank, I have a wife and I love her.
01:01:29And I like to see her from time to time.
01:01:31Shh, don't talk about that, please.
01:01:33I don't want to go to any premiere.
01:01:35Come here and listen to me, Terry.
01:01:36How can you be so stubborn?
01:01:42Billy, call Mr. Reagan and tell him to go to Terry's chalet.
01:01:45Yes, sir.
01:01:46Has he gone crazy again?
01:01:47With Mr. Reagan's office.
01:01:49It's important.
01:01:50Let's see, Terry, why don't you do it for me?
01:01:52You know what I do for you.
01:01:54That I break my back working to get you to the top
01:01:56and that I would cut my arm up to here
01:01:58because you were still in it.
01:02:00Walk around with Stephanie and you'll keep me at the top, huh?
01:02:03Am I an actor or a companion?
01:02:05I think I'm an actor.
01:02:06That's what people say.
01:02:07If it's not worth it, I can go back with the orchestra.
01:02:09And something tells me I'd be happier if I did.
01:02:12Terry, you have a duty.
01:02:13I have a duty to myself and my wife.
01:02:15And that magnificent plan you've prepared for me in San Francisco
01:02:17is not going to work.
01:02:18We're both going crazy.
01:02:20While I'm out in passes for the critics,
01:02:23premieres, cocktails and dinners of tribute,
01:02:25all for greater glory,
01:02:27she's at home getting bored.
01:02:29Terry, she doesn't complain.
01:02:30No, she's too good for that.
01:02:32I know how she feels and I don't blame her.
01:02:34You're right, Leo.
01:02:38Of course I am.
01:02:40We've been very unfair to Rita.
01:02:42Now I see that this situation is strange for her.
01:02:46Terry, will you let me do something?
01:02:48With your permission.
01:02:49Will you let me?
01:02:50Hank, a telegram to New York.
01:02:52I told them to book a room in the best hotel
01:02:54and buy tickets for all the theaters.
01:02:56For whom?
01:02:57For Rita.
01:02:59But what kind of solution is that?
01:03:01Look, it's only half the plan.
01:03:03Terry, when you finish this film,
01:03:04I'm going to give you four weeks off
01:03:06so you can go to New York and be with Rita.
01:03:08That's fantastic, Leo.
01:03:10There you have it, this solves the problem.
01:03:12Wait a minute.
01:03:14Let him understand.
01:03:17You promise me four weeks off
01:03:19when we finish the film?
01:03:21Yes, four weeks.
01:03:23In a row?
01:03:24In a row and assured.
01:03:27If you go to the premiere dinner.
01:03:32Yes.
01:03:42Okay?
01:03:43Perfect.
01:03:49I'm glad.
01:03:53Well thought out, Leo.
01:03:55How well these guys are going to spend those four weeks.
01:03:59What four weeks?
01:04:07Every time I put on the suit, I think of Reagan.
01:04:10All face and no back.
01:04:14What time do you think you'll be back?
01:04:16I don't know, honey.
01:04:17You know how these things are.
01:04:19Maybe I'll stay in town
01:04:20to be in the studios early tomorrow.
01:04:23Do you have the obligation to go?
01:04:25You know, it's almost a directed performance.
01:04:28Honey, listen to me.
01:04:30This trying to live like this can't work.
01:04:32I know.
01:04:34We're leading a life of dogs.
01:04:36I don't care to tell you that I have little patience.
01:04:39I'm going crazy.
01:04:41Look, Rita, we had an idea.
01:04:42Would you like to go to the East to visit your mother
01:04:44and see the boys while I finish the film?
01:04:46Then I would meet with you,
01:04:48let's say three or four weeks,
01:04:49and then we would go somewhere where no one knows me.
01:04:52Okay, if you want.
01:04:54Wait, I didn't say I wanted to.
01:04:56It seems like a good idea.
01:04:58I think the same.
01:05:03Well, well.
01:05:11What are you doing?
01:05:12I'm not going.
01:05:13Yes, you're going.
01:05:14I'm not going.
01:05:15But you promised and you can't break your promise.
01:05:18Come on, put this on.
01:05:27Do you really understand?
01:05:29Perfectly.
01:05:45I hurt you, didn't I?
01:05:47No.
01:05:48But you don't like the idea of going to the East.
01:05:50Well, I haven't really thought about it.
01:05:52You said you wanted me to go.
01:05:54I didn't say I wanted you to go.
01:05:56Terry, I don't understand you.
01:05:57All I wanted to say is that Regan promised me
01:05:59that if I went to the premiere tonight,
01:06:00you could go to the East and then meet me with you.
01:06:02That's all.
01:06:03Fine, then you have to go.
01:06:06What's happening to us?
01:06:07We're fighting like a couple of kids over a silly thing.
01:06:10It's not a silly thing.
01:06:11You organized the trip to the East for me,
01:06:13that's all, and I'm leaving.
01:06:15I didn't organize a trip to the East for you.
01:06:17We're not going to start with the whole canteen again.
01:06:19Put on your coat and go to the premiere.
01:06:21I have a lot of bags to do
01:06:22and you wouldn't do more than bother if you stayed.
01:06:24Surely yes.
01:06:52Come on, Regan.
01:07:23Hello, Rita, how are you?
01:07:26Where have you been?
01:07:27I've been traveling around California.
01:07:29I see the boys are still here.
01:07:31Yes, they're still here.
01:07:33Why? I don't know.
01:07:34Look what a job.
01:07:36Do you mind if I go up for a second and say hello?
01:07:39No, no, no, I don't mind.
01:07:41Rita, come by my office to see me before you leave.
01:07:52¶¶
01:08:21Is that Rita's voice?
01:08:22I don't know.
01:08:23I'm sure it is.
01:08:51¶¶
01:09:14Rita, how are you?
01:09:15Hello, Rita.
01:09:16It's a pleasure to see you.
01:09:17It's a pleasure for me, too.
01:09:18Hello, how are you?
01:09:19Mr. Richard, five minutes, please.
01:09:21Do you want five minutes?
01:09:22Well, you have five minutes.
01:09:23Come down and say hello.
01:09:25Rita, you have to tell me...
01:09:26When I heard that, I knew it was Rita.
01:09:32Are you coming back to sing with the band?
01:09:34Of course, of course.
01:09:36Yes, I've seen Terry in Hollywood.
01:09:39Everything is going perfectly for him.
01:09:41And he'll be coming to the East in a few weeks.
01:09:44Is it true that he and that star...
01:09:47It's a bit of publicity.
01:09:50Are you sure?
01:09:51Yes, I know Terry.
01:09:53I'm very glad to hear that.
01:09:54We were all very worried, weren't we, friends?
01:09:56Yes, we thought that since we still haven't found a singer for the band,
01:10:00we thought that maybe you, and then since you were on the west coast,
01:10:04well, it would be better if I shut up and play the piano, right?
01:10:12It's not going to be easy, you know.
01:10:15You must try.
01:10:18I can't stand the idea of hurting him.
01:10:21We've come to a point where the only thing that matters is you and me.
01:10:26I feel the same way, darling.
01:10:32Cut!
01:10:42Very good.
01:10:43Perfect.
01:10:44How do you interpret love scenes?
01:10:47Why not?
01:10:48It's going better than I wanted.
01:10:51Terry, I'm proud of you.
01:10:52That vocalization was perfect.
01:10:54God bless you, son.
01:10:55I'd give you both a kiss.
01:10:56Don't give me a kiss.
01:10:57I'll let Steffie do it.
01:10:58I'm also very happy.
01:11:00I think we're wonderful.
01:11:01There's no doubt about it.
01:11:02Come on, let's go in and say hello to Terry.
01:11:04Hello, Mr. Rooney.
01:11:05Hello.
01:11:06Amy, dear.
01:11:07Hello, Steffie.
01:11:08This last scene has been wonderful.
01:11:11Did you like it?
01:11:12Terry, do you know Miss Robbie?
01:11:14Yes, of course.
01:11:15We arranged an interview on Sunday.
01:11:16On Sunday?
01:11:17Oh, yes, it's true, on Sunday.
01:11:19This time we'll have a good time to talk.
01:11:21I'm glad to see her.
01:11:22Sorry, now I have to go change my tie.
01:11:27Miss Robbie, who's in charge?
01:11:28How's the shoot going?
01:11:30Excuse me, Blaine.
01:11:31I'm going to steal Amy for a moment.
01:11:33Oh, yes, of course.
01:11:34Amy, do you want to come with me while I fix my makeup?
01:11:37You have an interview with me today.
01:11:39I have something very important to tell you.
01:11:41Yes?
01:11:42What?
01:11:43Something about Terry and me.
01:12:00Good.
01:12:01Get some rest.
01:12:02And now what?
01:12:03Good thing.
01:12:04To have a girl directing the band.
01:12:07I guess we missed her.
01:12:09And we also miss Terry.
01:12:11Terry?
01:12:12Forget him.
01:12:13It's over.
01:12:14What do you mean?
01:12:15Have you read the newspapers?
01:12:16No.
01:12:17What happened?
01:12:18What happened?
01:12:19But...
01:12:23Stephanie Hayos has revealed her engagement to Rooney.
01:12:27She says the romance of the film will come true when the shoot is over.
01:12:31Something strange has had to happen.
01:12:33This is just nonsense.
01:12:35Well, what she says here doesn't seem like dirty garbage.
01:12:37Don't be ridiculous.
01:12:39It's impossible for Terry to be engaged to Stephanie.
01:12:42Why is it impossible?
01:12:43Because we...
01:12:45Well, we didn't want to tell you until he came to the East, but...
01:12:50We're married.
01:12:51Married?
01:12:52We got married in San Francisco after I left the orchestra.
01:12:55Why didn't you tell us?
01:12:56We thought you were working there.
01:12:58How can they publish their engagement to that artist if he's married to you?
01:13:02That's what I was trying to explain to you.
01:13:04It's a secret.
01:13:09Give me that.
01:13:11All right, to your places, please.
01:13:13Come on, come on, come on.
01:13:16Blayden.
01:13:17One moment, Hank, please.
01:13:19I have to talk to you.
01:13:20Well, okay.
01:13:21What do you want?
01:13:22Rest.
01:13:23Have you seen this?
01:13:24What?
01:13:26Stephanie Hyos reveals her engagement to Rooney.
01:13:29Wow, I'm sure she's loaded the inks.
01:13:31Read it later, now listen.
01:13:33No one has told Terry yet and no one will tell him.
01:13:36I have both doors guarded.
01:13:37I would kill myself if he found out about this story.
01:13:39Why would he kill you?
01:13:40It's an advertising trick, it's okay.
01:13:42Yes, but there is much more than you imagine.
01:13:44Listen to me.
01:13:45The least I would do would be to kill myself.
01:13:46And Stephanie?
01:13:47I don't know, she doesn't work today.
01:13:48Did she say by chance where she was going?
01:13:50No.
01:13:51Well, she's not at home and I've been to all the beauty salons.
01:13:53Are the girls waiting?
01:13:54Oh, yes, please.
01:13:55Very good, very good.
01:13:59How beautiful.
01:14:01Very beautiful.
01:14:02Oh, do you like us?
01:14:05Hey, Blaine, am I supposed to marry this one?
01:14:10What luck.
01:14:12Hi, how are you?
01:14:13Very good.
01:14:14What dirty advertising trick are you involved in?
01:14:16You're wrong, I'm working on a spiritual level.
01:14:18I pray and everything.
01:14:19Do you pray?
01:14:20You can't imagine how much.
01:14:21I'm not surprised.
01:14:22What do you say?
01:14:23Who have you killed?
01:14:24Nobody kills anyone.
01:14:25You'll see, I'm doing the crucifix.
01:14:27I'll get another one for you.
01:14:28Don't get like that.
01:14:29Are you ready?
01:14:30Ready whenever you want.
01:14:31Okay, Terry.
01:14:33Mr. Rooney, I want to be the first to congratulate you.
01:14:35Hey!
01:14:36Get out of here!
01:14:37But what are you doing?
01:14:38I see it's ordered not to bother you while you work.
01:14:41You should be the first to know.
01:14:42What?
01:14:43Congratulations, Terry, my friend.
01:14:46But what's wrong with you today?
01:14:47Nothing's wrong with me.
01:14:48It's an old superstition.
01:14:50An actor can't be congratulated until he finishes the film.
01:14:53You should know that.
01:14:54It's completely chaotic.
01:14:55Get him out, let him get some air.
01:14:56It's all he needs.
01:14:58I brought it for your record album.
01:14:59Get out of here!
01:15:00Wait a minute!
01:15:03You were trying not to see this?
01:15:06I didn't try to hide anything from you, Terry.
01:15:08Word of honor.
01:15:09I have nothing to do with this.
01:15:10And your idea about advertising?
01:15:11No idea at all.
01:15:12I give you my word, I have nothing to do with it.
01:15:16Nothing.
01:15:18I thought you were my friend.
01:15:19I'm your friend.
01:15:20Let me explain everything to you.
01:15:21I have nothing to do with it, Terry.
01:15:22You have to believe me.
01:15:23Let me explain it to you.
01:15:24Do you want to get out?
01:15:31Where's Tito?
01:15:33Tito!
01:15:34Tito!
01:15:35Go with Mr. Rooney to Chalé.
01:15:36Ask him not to leave until I get there, please.
01:15:38Yes, sir.
01:15:39What a day!
01:15:40What a day!
01:15:42Mr. Han!
01:15:43Mr. Han!
01:15:44Estefi just left for Chalé.
01:15:46Estefi?
01:15:47Yes, what was missing.
01:15:48You have to control her.
01:15:52See you later, Daisy.
01:15:53You can go.
01:15:54I don't know if I should kill you for this story or give you a kiss for showing up.
01:15:58How are you?
01:15:59No, don't come to me with that kind of how are you, Estefi.
01:16:01You've got me in a mess.
01:16:03I just did what you told me to do.
01:16:06Give the studios an advertising worth a million dollars.
01:16:09I'm sure I didn't tell you to say you were engaged.
01:16:11Are you saying he's objecting to being engaged to me?
01:16:16Objection?
01:16:17All he does is protest.
01:16:19Me?
01:16:20Estefani Jallos?
01:16:21The big star?
01:16:22And he's objecting to our names being associated?
01:16:25That saltimbanqui, he's protesting.
01:16:27He's protesting!
01:16:28I won't talk to him again.
01:16:30I won't even finish the movie.
01:16:32Tell him in public that it's over.
01:16:34Yes, of course it's over.
01:16:35If you don't come with me to Terry Rooney's house and tell him you're responsible for everything,
01:16:39you'll go even if I have to drag you out of your hair.
01:16:41Don't talk to me like that.
01:16:43I've never liked hitting a woman, but now I'm about to do it.
01:16:47Go ahead, hit me, woman hitter.
01:16:50Estefi, I didn't want to tell you, but I suppose there's no other way.
01:16:54The boy is married.
01:16:58Why do you never tell me those things?
01:17:02Because we were trying to keep it a secret.
01:17:04Trying to do it alone?
01:17:06It seems to me that you have succeeded.
01:17:08And now you don't want to hurt Terry and his wife, do you?
01:17:11I don't want to hurt anyone.
01:17:13They've hurt me so many times.
01:17:15I know what it's like to feel hurt.
01:17:17I'll go with you.
01:17:19But please, please don't scold me anymore, Hank.
01:17:24Oh Estefi, no one understands you.
01:17:27But I love you.
01:17:29Come on, let's get out of here.
01:17:34Come on Estefi, we'll find Terry.
01:17:36Terry! Terry!
01:17:37Honorable boss, no house.
01:17:39Oh, come on, cut that roll of the honorable boss.
01:17:42Do you have any idea where he's gone?
01:17:43No, sir, please.
01:17:44And the studio?
01:17:45No, sir.
01:17:46What are you doing here?
01:17:48No, sir, please.
01:17:50No, sir.
01:17:52Hello, with the door.
01:17:53Did you follow him when he left the stage?
01:17:55No, sir, please.
01:17:56Has he returned to Rooney with his orchestra?
01:18:00Why don't you do anything?
01:18:01No, sir, please.
01:18:03Why don't you catch it?
01:18:04I catch his tone.
01:18:05I came to Hollywood to be an actor, not a servant.
01:18:08I'll go.
01:18:09To say it with his own words.
01:18:11I'll catch it and I won't come back.
01:18:12Have a good day.
01:18:14What's wrong with him?
01:18:15Have a good day.
01:18:18I'm on the verge of a nervous attack of so much tension.
01:18:21I'm going to go crazy.
01:18:24Do you want to do me the favor of calling him?
01:18:27All right.
01:18:28If you're happy with that.
01:18:31Anyone would say that it is your husband instead of mine.
01:18:34Does it worry me?
01:18:35No, I'm not worried.
01:18:36And you, yes.
01:18:37Hello.
01:18:38I would like to put a direct conference to Terry Rooney with the Gallard Studios of Hollywood.
01:18:43Yes.
01:18:44You are going to see how ridiculous this whole matter is.
01:18:47Imagine that our dear Terry ...
01:18:48I thought he was going to put us all in his second movie.
01:18:51This was not that kind of movie.
01:18:54There was no orchestra.
01:18:55All movies have an orchestra.
01:18:57At least a violin.
01:18:59No?
01:19:01Well, then try in Hollywood.
01:19:03One, two, five, two, one.
01:19:06Yes.
01:19:07It is the most beautiful phone in the house that I know.
01:19:22Tell me.
01:19:23Hello.
01:19:24Is Terry Rooney there?
01:19:29Who am I talking to?
01:19:31I'm a friend of yours.
01:19:38Hey.
01:19:40What's up, Rita?
01:19:42It's true.
01:19:44Stephanie Hayes was at home.
01:19:47Damn, I'm sorry, girl.
01:19:48Don't do it.
01:19:49I can't stand being embarrassed.
01:19:54Our hiding place.
01:19:58He has taken her ...
01:20:01to our house.
01:20:04As the saying goes, when the river sounds ...
01:20:07So what?
01:20:09I'm coming.
01:20:12Hello, Mr. Richard.
01:20:13Hello, guys.
01:20:14How are you?
01:20:15Do you really want to know?
01:20:16Well, of course.
01:20:17And the lady, how are you?
01:20:18Good, good.
01:20:20Ah, you're here.
01:20:21And I'm glad to see you.
01:20:22We finally got your chance.
01:20:24On the front page of all the newspapers in the city,
01:20:26it is said that the lady of Terry Rooney
01:20:28is going to sing at the Palomino Roof.
01:20:30How did you find out that I was the lady of Terry Rooney?
01:20:32Well, you told the boys and ...
01:20:35No, I was at the bar.
01:20:36And a journalist, a friend of mine,
01:20:38found out that you had said it.
01:20:40Well, the lady of Terry Rooney is not going to sing at the Palomino Roof.
01:20:43Ah, dear, listen to me.
01:20:44And don't call me dear.
01:20:46If you think you can call me that
01:20:48just because you heard what I said to the boys,
01:20:50you are very wrong.
01:20:51Hey, look, just for one night,
01:20:53just for this night,
01:20:54I can give you a thousand dollars.
01:20:56All the tables are booked by phone.
01:20:58It's all sold out.
01:21:00There will be a riot,
01:21:01unless the lady of Terry Rooney appears.
01:21:04Get out.
01:21:05Ah, look.
01:21:06He said get out, friend.
01:21:07And she knows what she says.
01:21:10Ah, what do we have, huh?
01:21:12Listen to me well, boys.
01:21:13Go down to the track and pick up those instruments
01:21:15before he throws them in the trash.
01:21:20Boys, go with him.
01:21:22Everything will be fine.
01:21:23Don't worry.
01:21:24Yes, yes, I'm fine.
01:21:35Mr. Rooney, let me congratulate you.
01:21:38I hope you are very happy.
01:21:42Is something wrong with you?
01:21:44Can I do something for you?
01:21:47No, thank you.
01:21:48Unfortunately, you can't help me.
01:21:50Oh.
01:21:57Well, are we still interested?
01:21:59What if you follow me?
01:22:01It will cost you 2,000 of the greens per night
01:22:03and we finish at 12 o'clock.
01:22:04But be reasonable.
01:22:05Answer quickly, yes or no.
01:22:07Yes, and in advance.
01:22:09But guys, you can trust me.
01:22:11In advance.
01:22:13All right, you die, you die.
01:22:15We need several tables.
01:22:16You have to bring some ...
01:22:17Let's see.
01:22:18You want six highs, six lows and a compartment, right?
01:22:20I don't need a compartment, a bass, yes.
01:22:22And fix it, okay?
01:22:43Ladies and gentlemen, a moment of attention, please.
01:22:46I have the pleasure of introducing you personally
01:22:49to the lady of Terry Rooney.
01:23:16This I know
01:23:19Love is just like a strong thunderstorm
01:23:27That takes me wherever you go
01:23:34Love is just like a strong thunderstorm
01:23:40I've never seen a moon
01:23:46Shine through the sky
01:23:51But little by little
01:23:56I guess it's just because I can't
01:24:11Oh, that's what loving you did for me
01:24:19I've never seen a moon
01:24:25Shine through the sky
01:24:30But little by little
01:24:35I guess it's just because I can't
01:24:45Hello, Tulio.
01:24:46Terry, it looks like you're leaving.
01:24:47We're all leaving, we're leaving here.
01:24:49Where's Rita?
01:24:50She's on stage singing.
01:24:52Don't take the suitcases!
01:24:53Wait a minute, Terry, I wouldn't intervene.
01:24:55She's already got the idea.
01:24:56She's already got the idea of what?
01:24:57Of leaving here.
01:24:58Hey, look, go in there and tell the guys to play my melody.
01:25:01I can't do that, Terry.
01:25:02Go in there and tell them to play my melody, come on!
01:25:17Though life may be heaven or hell
01:25:22I'll string it all right, all right
01:25:46Oh, that's what loving you did for me
01:25:53I guess it's just because I can't
01:26:02Oh, that's what loving you did for me
01:26:10False romance between Terry Rooney and Stephanie Aiches.
01:26:24With rhythm, friends!
01:26:26I've come to take you to your room again.
01:26:56© BF-WATCH TV 2021
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