- hace 3 meses
PRESIONA "SEGUIR" PARA ESTAR AL TANTO DE LOS PRÓXIMOS ESTRENOS DE ESTE CANAL.
SIGUE EN FACEBOOK "LO MEJOR DE LOS OCHENTA" NUESTRA PÁGINA AMIGA Y SIGUENOS EN "VOLVIENDO AL CINE DEL BARRIO" EN LA MISMA PLATAFORMA.
Este es un canal dedicado a los cultores del cine vintage; un tributo a los nostálgicos de siempre. Está consagrado a revivir los viejos éxitos de la cinematografía que ya pasó de ser cine, para convertirse en séptimo arte, como así también reivindicar la memoria de mucho
s actores y actrices injustamente olvidados por los difusores de hoy. Volvamos al viejo cine del barrio donde tantos recuerdos hermosos cultivamos. Muchas gracias por sumarse...Y síganme los buenos...!!
Película considerada de culto. La intención de este ciclo es llevar al mundo de habla hispana películas de terror/sci-fi/suspenso y comedia de los '30, '40, '50, '60, '70 Y '80, en su idioma original con subtítulos; recopiladas de varios sitios de internet, con el propósito de colaborar con la difusión cultural del cine que hoy podemos denominar de culto. No se olviden de dar LIKE y SUSCRIBIRSE y ayúdenme para poder seguir subiendo videos y ACTIVAR la campana para saber de próximos estrenos en versión original y subtitulados.
SIGUE EN FACEBOOK "LO MEJOR DE LOS OCHENTA" NUESTRA PÁGINA AMIGA Y SIGUENOS EN "VOLVIENDO AL CINE DEL BARRIO" EN LA MISMA PLATAFORMA.
Este es un canal dedicado a los cultores del cine vintage; un tributo a los nostálgicos de siempre. Está consagrado a revivir los viejos éxitos de la cinematografía que ya pasó de ser cine, para convertirse en séptimo arte, como así también reivindicar la memoria de mucho
s actores y actrices injustamente olvidados por los difusores de hoy. Volvamos al viejo cine del barrio donde tantos recuerdos hermosos cultivamos. Muchas gracias por sumarse...Y síganme los buenos...!!
Película considerada de culto. La intención de este ciclo es llevar al mundo de habla hispana películas de terror/sci-fi/suspenso y comedia de los '30, '40, '50, '60, '70 Y '80, en su idioma original con subtítulos; recopiladas de varios sitios de internet, con el propósito de colaborar con la difusión cultural del cine que hoy podemos denominar de culto. No se olviden de dar LIKE y SUSCRIBIRSE y ayúdenme para poder seguir subiendo videos y ACTIVAR la campana para saber de próximos estrenos en versión original y subtitulados.
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CortometrajesTranscripción
00:00:00Texas
00:00:02Texas
00:00:04Brooklyn
00:00:08Texas
00:00:10Brooklyn
00:00:12And
00:00:14Heaven
00:00:16Before you learn your ABCs
00:00:18You learn that good things happen
00:00:20In dreams like
00:00:22Texas, Brooklyn
00:00:24And Heaven
00:00:26They made the blues
00:00:28Illegal drive
00:00:30The devil has such a terrible time
00:00:32In Texas
00:00:34Brooklyn
00:00:36And Heaven
00:00:38Yippie-i, yippie-o
00:00:40For the Alamo
00:00:42Where the flames are a welcome mat
00:00:44Yippie-o, yippie-i
00:00:46For the lucky guy
00:00:48Who hangs his hat in a flat whoosh-flat
00:00:50You wanna meet an angel face
00:00:52My angels live far
00:00:54Over the place in Texas
00:00:56Heaven
00:00:58And Heaven
00:01:00It's the first time
00:01:02I guess
00:01:04That's why
00:01:06I won't be afraid
00:01:08I don't know
00:01:09No
00:01:10No
00:01:11No
00:01:12No
00:01:13It's just
00:01:14No
00:01:15No
00:01:16No
00:01:16No
00:01:18No
00:01:20No
00:01:20No
00:01:22Do you exist?
00:01:23No
00:01:25¿Qué tienes?
00:01:27¿Qué es con eso?
00:01:29¿Qué es con lo que?
00:01:31Con lo que es especial. ¿Tienes una?
00:01:35Sí.
00:01:36Voy a tener la segunda.
00:01:38¿Fuera, ¿eh?
00:01:40¿Con o no?
00:01:42¿Con o no?
00:01:44¿Con lo que?
00:01:45¿La historia.
00:01:46¿Para lo largo?
00:01:47Depende de cuánto de la bebida.
00:01:49Ok, comienza a mezclar.
00:01:52Voy a trabajar mi camino a ese libre.
00:01:55Hey, Mike.
00:01:58¿Por qué Texas Golden Horse?
00:02:01¿Por qué no Brooklyn Golden Horse?
00:02:03Porque Eddie Talo vino de Texas.
00:02:05Dallas, Texas.
00:02:11This is Dallas, Texas.
00:02:16No.
00:02:19No.
00:02:20No.
00:02:21No.
00:02:22No .
00:02:23No
00:02:26No .
00:02:27Noよね.
00:02:28No.
00:02:30No.
00:02:34No.
00:02:35No.
00:02:36No.
00:02:38No
00:03:15¿Tú has algo para mí?
00:03:17No. No te esperes que no lo que sea.
00:03:20No en el de las redes sociales, ¿no?
00:03:43¿Tú has algo para ti?
00:03:44¿Sí? ¿Para mí?
00:03:45San Angelo es tu ciudadano, ¿no?
00:03:47Sí.
00:03:48Hay una historia que se presentó
00:03:49sobre el T.X. Talo.
00:03:50¿Tú has relación conmigo?
00:03:51Mi padre.
00:03:53Se dice que está muerto.
00:03:59¡Es un viejo hombre!
00:04:00¿Se ha llevado un patrimonio?
00:04:02Sí.
00:04:03Su propio dinero y un par de 1875 revolver.
00:04:07Ya, por lo tanto,
00:04:08he recuerda me.
00:04:12¡Para que me recuerde!
00:04:13景 por el hijo.
00:04:15Parece que no había pensado
00:04:17por los bancos,
00:04:18así que me dejó seis mil dólares
00:04:19en tomate de cuenta...
00:04:20¡Capi!
00:04:37¿Qué pasa?
00:04:39Señor McGonigal.
00:04:41Sí.
00:04:42Este es mi último día aquí.
00:04:44¿Quién?
00:04:46Desde el primer día que llegué, tres años atrás,
00:04:48he esperado hasta que tengo dinero para hacer lo que realmente quiero hacer.
00:04:51¿De dinero?
00:04:52Tu padre le dejó $6,000, no $60.
00:04:54Eso es suficiente.
00:04:56¿Qué harás con esta enorme fortuna?
00:04:57¿Buy un ranch de Texas?
00:04:59Voy a Nueva York para terminar mi playa.
00:05:01Uh-huh.
00:05:03Bueno, cuando te empiezas en Broadway,
00:05:05el Fort Worth section va a ser abierto.
00:05:07¿En los news?
00:05:08Sí.
00:05:09No, gracias.
00:05:10Hasta luego, McGonigal.
00:05:11Hasta luego.
00:05:12Hasta luego.
00:05:13Hasta luego.
00:05:14Hasta luego.
00:05:35Eddie got off to a swell start.
00:05:38Twenty-six miles out of Dallas, he had car trouble.
00:05:41But if there had been no car trouble...
00:05:44Say, mister, would you give me a lift, please?
00:05:48I'm not very heavy.
00:05:50Where did you come from?
00:05:52I was asleep there beside the road,
00:05:54and then I heard you making all that noise.
00:05:56I guess it woke me.
00:05:58Go away.
00:06:00You're a very rude person.
00:06:03You're not a nice girl.
00:06:05Not on the highway this time of the night.
00:06:07There's nothing nice about you either.
00:06:09Not a single iota.
00:06:10It so happens I'm running away from home.
00:06:12Some people do it in style,
00:06:14some have to do it my way.
00:06:15So, for your information, I am a nice girl.
00:06:18And now, if you'll excuse me, good night.
00:06:21I can't sleep with all that racket you're making.
00:06:38I'm sorry my car broke down in your boudoir.
00:06:43If you had one iota of friendliness, just one iota,
00:06:48I could fix your car for you.
00:06:50That I'd like to see.
00:07:03Thanks for fixing my car.
00:07:05You've already said that four times.
00:07:07I'm only trying to make conversation.
00:07:09Please don't exert yourself.
00:07:11I'm sure it must be very exhausting for you to try to be nice.
00:07:15I'm a fellow who's always been alone.
00:07:17Even when I work with others, I'm still alone.
00:07:20I'm not used to helping or being helped.
00:07:29Isn't it funny that I should be running away from the ranch when that's what I like most of all?
00:07:34What ranch?
00:07:35Oh, didn't I tell you?
00:07:37It's the family ranch in Texas.
00:07:40It's just outside of Kalinimo City.
00:07:42It covers about 115,000 acres.
00:07:45And you should see the horses we have.
00:07:472800 of them, not counting the wild mares and their foals.
00:07:50Look, Miss, I know Kalinimo City pretty well.
00:07:54There isn't a horse ranch within 200 miles of that place.
00:07:57And we both know it.
00:07:59Yeah, but if there was such a place, wouldn't it be wonderful?
00:08:02What are you really running away from?
00:08:05A gasoline station.
00:08:07That's why I know so much about cars.
00:08:10My brother and I ran it until he got married.
00:08:13And then when his wife moved in, I felt sort of unnecessary.
00:08:17You know, like I was crowding the place.
00:08:19Still, it's better than bucking the world on you.
00:08:21Unless you have a grandfather who left you a hunk of dough.
00:08:25All I have is a diploma from the correspondence school.
00:08:30It's a very attractive diploma, though.
00:08:32And it says I'm a perfect secretary.
00:08:34Shorthand, typing, and business management.
00:08:37You've got a job waiting for you someplace, huh?
00:08:39No, but I'll get one.
00:08:41And then when I've made enough money, I'll come back to Texas
00:08:44and buy myself a ranch with horses.
00:08:46All the loveliest horses.
00:08:50You haven't told me anything about yourself.
00:08:52You've been awfully quiet.
00:08:53We interrupt this broadcast to bring you a very special bulletin.
00:08:56Red Carr is still at large.
00:08:58Red Carr, who robbed another bank in East Texas this morning,
00:09:00was last seen steaming away in a fast black coupe.
00:09:03Up to ten minutes ago, he had not been apprehended.
00:09:06Special warning to anyone who might see him.
00:09:08Red Carr always carries at least two heavy-caliber revolvers.
00:09:15Approach with caution.
00:09:17What kind of work do you do?
00:09:23Well, I'm going to New York to write a play.
00:09:29You still haven't told me your name, or, uh...
00:09:31Would you rather not?
00:09:34Taylo. Eddie Taylo.
00:09:36How do you spell the Taylo?
00:09:37T-A-Y-L-O-E.
00:09:39My name is Peruna Dunklin.
00:09:42I spell the Dunklin.
00:09:44D-U-N-K...
00:09:46Watch out!
00:09:54Put those guns down.
00:09:55They might go off.
00:09:56Thank goodness you've come out of it.
00:09:58I thought it was the sheriff and the posse.
00:10:00Sheriff?
00:10:02But it was only Mr. Tebow and the doctor.
00:10:05Now, think quick.
00:10:06They'll be in here in a minute.
00:10:07We'll use the name you gave me last night.
00:10:09Eddie Taylo.
00:10:10That's what I've already told them your name is.
00:10:11Are you listening to me?
00:10:13I'm listening.
00:10:14My name is Eddie Taylo.
00:10:15Good.
00:10:16And I'm your sister Perry.
00:10:17My sister?
00:10:18It makes it look better.
00:10:20Red Carr wouldn't be riding around with his sister.
00:10:23What's Red Carr got to do with this?
00:10:27Who are you?
00:10:28Eddie Taylo.
00:10:30That's fine.
00:10:31And don't worry about your money, Gov.
00:10:32I put it under the couch after Mr. Tebow helped me get you in the bed last night.
00:10:35I'm getting out of here right now.
00:10:37What happened to my shoulder?
00:10:38You're lucky you're alive.
00:10:40I don't know.
00:10:42And who's this Mr. Tebow?
00:10:44This is his house.
00:10:45He lives here alone.
00:10:46His wife ran away with the dentist.
00:10:48But he doesn't care, he says, because now he doesn't have to pay the bill.
00:10:51Anyway, he helped me get you here after the accident.
00:10:54You remember the accident.
00:10:57Don't you?
00:10:58Remember it.
00:10:59I'm still in it.
00:11:00It's getting worse.
00:11:02And we're so fortunate that Mr. Tebow didn't recognize you.
00:11:05Let's get something straight.
00:11:07I'm not Red Carr.
00:11:09Of course not.
00:11:10You're Eddie Taylo.
00:11:11We agreed on that, didn't we?
00:11:12It's not a matter of agreement.
00:11:14I am Eddie Taylo.
00:11:16And I'm your sister.
00:11:17I have no sister.
00:11:19You better have one if you know what's good for you.
00:11:22Hello, Doctor.
00:11:23Hello.
00:11:24Miss...
00:11:25Uh, uh, Taylo.
00:11:26Perry Taylo.
00:11:27And, uh...
00:11:28You're...
00:11:29I'm Red Carr.
00:11:30You've heard about me, Doc.
00:11:31Haven't you?
00:11:32Why, uh...
00:11:33Everybody around these parts knows about Red Carr.
00:11:37What are you nodding your head for?
00:11:39Don't you believe I'm Red Carr, don't you?
00:11:40Yeah.
00:11:41And now, perhaps it would be better if I talk to the patient alone.
00:11:44It's his left shoulder, Doctor.
00:11:45We'll know soon enough.
00:11:46I'll call you if I need you.
00:11:47Try to behave.
00:11:48Get in touch with the rest of the mob.
00:11:49Tell them to lay low until the heat's off.
00:11:51Oh!
00:11:52Oh!
00:11:53Oh!
00:11:54Oh!
00:11:55Oh!
00:11:56Oh!
00:11:57Oh!
00:11:58Oh!
00:11:59Oh!
00:12:00Oh!
00:12:01Oh!
00:12:02Oh!
00:12:03Oh!
00:12:04Oh!
00:12:05Oh!
00:12:06Oh!
00:12:07Oh!
00:12:08Oh!
00:12:09Oh!
00:12:10Oh!
00:12:11Oh!
00:12:12Oh!
00:12:13Oh!
00:12:14Oh!
00:12:15Oh!
00:12:16Oh!
00:12:17Oh!
00:12:18Oh!
00:12:19Oh!
00:12:20Yeah, I'm out.
00:12:21That's really good, Andy,nie.
00:12:22You got a good buy in this car, Nick?
00:12:24You did the buy?
00:12:25400 miles and the motor sounds like a hummingbird.
00:12:27You're still getting off at Birmingham?
00:12:28Sure, if your shoulders don't get.
00:12:29Why don't you stay with me and...
00:12:31Or is that too big for you?
00:12:33I hadn't figured on New York.
00:12:35Why not make it New York?
00:12:37It's about time somebody like you went there and changed the place.
00:12:40I don't know.
00:12:42¿Para?
00:12:44¿Para?
00:12:45¿Para?
00:12:47Mi esposa no me preocupa.
00:12:49No me preocupa por los dos días.
00:12:52No he dicho nada porque...
00:12:55lo que quiero decir es...
00:12:59que eres un buen driver.
00:13:01No te preocupes conmigo.
00:13:03¿Quién ha dicho algo?
00:13:05¿Qué te preocupa?
00:13:07¿Qué te hace pensar que me quiera?
00:13:10Tienes que admiten que siempre hay una posibilidad...
00:13:13que deberíamos de ser queridos.
00:13:15¿Para eso?
00:13:17¿Para eso?
00:13:18Bueno, debemos enfrentar esa posibilidad.
00:13:20¡Es una dificultad!
00:13:22Una relación de amor a este momento...
00:13:24podría interferir con mis planes.
00:13:26¿Sabes, Eddie?
00:13:28Yo siempre vivía en un mundo...
00:13:30de...
00:13:31de...
00:13:32de...
00:13:33pero una cosa es la realidad.
00:13:35Yo tengo una capacidad para amor.
00:13:37Para personas.
00:13:39De todas las personas.
00:13:41Oh, podría estar en el amor...
00:13:42pero...
00:13:43eso sería muy malo.
00:13:45Yo creo que...
00:13:46de...
00:13:47de...
00:13:48de...
00:13:49de...
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00:14:55...
00:15:03Por seis states, she talked his ears off. But, of course Perry
00:15:03knew he wasn't Red Car. But, she kept up her act just for the fun of watching him blow his top
00:15:09and, all the time, he didn't know that she was giving him the needle. Hmm
00:15:15It's funny how some gals know just one leave his ass König of the lady to-
00:15:20Si, solo usamos el inglés.
00:15:27De todas formas, no es tan linda como las otras.
00:15:33Se ha realizado un buen vestido.
00:15:35Para la última vez, no necesito un vestido.
00:15:43Bueno, bien, adiós.
00:15:44Espero que te acabas pronto.
00:15:46Gracias por lo que te gusta.
00:15:47¿Puedo estar en la ruta?
00:15:48Vamos a hacer un beso y conversar.
00:15:51Tenemos mucho tiempo para hablar.
00:15:53Ahora estoy en mi camino a Brooklyn.
00:15:55Brooklyn?
00:15:56¿Has llegado a Nueva York para terminar en Brooklyn?
00:15:59He escuchado mucho.
00:16:01Parece un maravilloso lugar.
00:16:03¿Qué es maravilloso?
00:16:06Brooklyn me parece.
00:16:08¿Hay alguna razón por qué no debería llegar a mi destino?
00:16:11No es una pregunta lógica.
00:16:12No puedo dar una respuesta lógica.
00:16:14No puedo dar una respuesta.
00:16:16Bueno...
00:16:17¡Adiós!
00:16:25¿Qué es eso?
00:16:29Eddie...
00:16:30estás siendo romántico.
00:16:32Me da.
00:16:33En simple y simple idioma,
00:16:34¡Adiós!
00:16:39¿Me intercambio conmigo cuando te quedes?
00:16:44Bien, Eddie.
00:16:45¡Adiós!
00:16:46¡Adiós!
00:16:47¡Adiós!
00:16:48¡Adiós!
00:16:49¡Adiós!
00:16:50¡Adiós!
00:16:51¡Adiós!
00:16:52¡Suscríbete al canal!
00:17:22¡Suscríbete al canal!
00:17:52¡Suscríbete al canal!
00:17:54¡Suscríbete al canal!
00:17:56¡Suscríbete al canal!
00:17:58¡Suscríbete al canal!
00:18:00¡Suscríbete al canal!
00:18:02¡Suscríbete al canal!
00:18:04¡Suscríbete al canal!
00:18:06¡Suscríbete al canal!
00:18:08¡Suscríbete al canal!
00:18:10¡Suscríbete al canal!
00:18:12¡Suscríbete al canal!
00:18:14¡Suscríbete al canal!
00:18:16¡Suscríbete al canal!
00:18:18¡Suscríbete al canal!
00:18:20¡Suscríbete al canal!
00:18:22¡Suscríbete al canal!
00:18:24¡Suscríbete al canal!
00:18:26¡Suscríbete al canal!
00:18:28¡Suscríbete al canal!
00:18:30¡Suscríbete al canal!
00:18:32¿Qué pasa con la psicología?
00:18:33No quiero que te preocupes, pero no lo entiendo.
00:18:36Mira, voy a explicarlo a la simple manera.
00:18:41Si eres un hombre y te responde a la palabra, y es tu mujer.
00:18:44Y ella dice,
00:18:45«Harry, te lo que sea como un hombre».
00:18:47Desde ahora, Joe ha tomado tu lugar en mi corazón.
00:18:51¿Qué hará Harry?
00:18:53Hay una barra.
00:18:55Allí está listo.
00:18:57Un compañero y un compañero que le escucha a cualquier cosa.
00:19:00¿Qué hará Harry?
00:19:02¿Qué hará Harry?
00:19:03No.
00:19:04Y no importa si es su mujer, o el boss, o incluso si es el libro que está buscando.
00:19:10Buenas cosas o malas, es para tomar una bebida.
00:19:14A veces para olvidar, a veces para recordar.
00:19:17Y luego hay...
00:19:19el nervioso tipo.
00:19:20Tiene que tener una bebida antes de hacer el teléfono.
00:19:23Tal vez no tienes que trabajar, pero yo.
00:19:26A escritor.
00:19:28¿Puedes?
00:19:29A regular character.
00:19:30Si alguien me haces...
00:19:31No, no me haces.
00:19:32Pero si me haces una bella de Brooklyn, y es una mujer, no me haces.
00:19:37Pero si alguien me haces, voy a encontrar.
00:19:39No tienes que preocuparte conmigo.
00:19:41Me hago mi dinero, pero es legítimo.
00:19:44Solo...
00:19:45tengo que tenerlo primero.
00:19:47Sí.
00:19:49Sí.
00:19:50Sí.
00:19:51Vamos a hacer todo lo que podemos hacer.
00:19:54Bye.
00:19:55Y ahora, ¿qué tipo de habitación te gustaría en qué distrito?
00:19:59Ya sabes, la Cámara no podrá encontrarla para ti.
00:20:02Me gustaría vivir en la habitación de una establa.
00:20:05Una establa.
00:20:07¿Pero decir que querías vivir en una establa?
00:20:10Sí, por favor.
00:20:12Si no hay mucho problema.
00:20:13¿Pero decir que hay hombres en esa establa?
00:20:16Sí, por supuesto.
00:20:18Me gustaría favor una establa con hombres en la establa.
00:20:21Pero si no puedes encontrar una con una en la establa,
00:20:23me gustaría favor una establa,
00:20:25incluso si fuera fuera de la establa.
00:20:27Bueno, eso es mucho más fácil.
00:20:30Me gustaría que podamos encontrar esta situación.
00:20:32Sí.
00:20:33Sí.
00:20:34Sí.
00:20:35Sí, sí.
00:20:36Sí.
00:20:37Sí.
00:20:38Sí.
00:20:39Sí.
00:20:40Sí.
00:20:41Sí.
00:20:42Sí.
00:20:43Sí.
00:20:44Sí.
00:20:45Sí.
00:20:46Sí.
00:20:47Sí.
00:21:00Sí.
00:21:02No.
00:21:03No, señor.
00:21:04No, no, no.
00:21:05No, no, no, no.
00:21:07No, no.
00:21:08No, no.
00:21:09No, no.
00:21:10No, no.
00:21:11¿Qué pasa?
00:21:13No hay nada.
00:21:15No hay nada.
00:21:17No hay nada.
00:21:19Es una elección que me ha desarrollado desde que no se ha llegado.
00:21:21No sé si no hay nada.
00:21:23Es una elección que me ha desarrollado desde que no se ha llegado.
00:21:25No sé si lo que es, y hay tantas y tantas de personas.
00:21:41No hay nada.
00:21:43No hay nada.
00:21:45No hay nada.
00:21:47No hay nada.
00:21:49No hay nada.
00:21:51No hay nada.
00:21:53Nunca pensé que yo era capaz de abrir una puerta con la mano como un hijo.
00:21:56¿Puedo preguntar?
00:21:58No.
00:21:59No.
00:22:00En cualquier manera, con la policía, no debería haber visto en la calle.
00:22:04Por favor,
00:22:06antes de llamar a la copa,
00:22:08no debería de ir a la cara.
00:22:10No debería de ir a la cara.
00:22:12No debería de ir a la cara.
00:22:14No debería de ir a la cara.
00:22:16No debería de ir a la cara.
00:22:20Pero tienes que responder algunas preguntas.
00:22:22¿Por qué?
00:22:23Porque tienes una carta y una carta?
00:22:25Porque es la ley.
00:22:27Lo he dicho, no se siente bien.
00:22:29¿Es suficiente?
00:22:31Bien, vamos a dejarlo.
00:22:33¿Qué pasa?
00:22:34¿Qué pasa?
00:22:35No hay nada.
00:22:37No hay nada.
00:22:39No hay nada.
00:22:40Pero estás enfermo.
00:22:41¿Por qué hacer que se enferme?
00:22:42Ambulaciones, hospitales, muchas preguntas.
00:22:45Lo he conocido.
00:22:46Lo he conocido.
00:22:47Muy saludable.
00:22:48Todos esos preguntas.
00:22:50Ok, entonces, déjame la carta.
00:22:52¿Qué es tu nombre?
00:22:53Perry Calo.
00:22:54¿Sabes?
00:22:55No, no me importa si me déjame la carta.
00:22:58T-A-Y-L-O.
00:23:02Adnée.
00:23:04¿Y la señora?
00:23:07¿Has visto ella antes?
00:23:09Enough de esto.
00:23:11Mi hijo, no quiero que te preocupes.
00:23:13Oh, mi amor.
00:23:15Send a la carta.
00:23:17¿Sabes?
00:23:18Ellos deberían enviarla.
00:23:19Tienes que te enviarla.
00:23:20Tienes que te enviarla.
00:23:21Tienes que te enviarla.
00:23:22Tienes que te enviarla.
00:23:23Tienes que te enviarla.
00:23:24Tienes que te enviarla.
00:23:25Tienes que mis hijas.
00:23:27Porque ella es mi madre.
00:23:28Oh.
00:23:31Tu madre, ¿eh?
00:23:32¿Qué kind de una niña es tu cara para não to feed tu sangre?
00:23:35Porque ella era tan contenta y independiente de aceptar el ayuda.
00:23:40Y luego, un día, ella se retiró de casa a ver qué se caló a su cargo.
00:23:45¡No!
00:23:47No me hubo con ella hasta hoy.
00:23:50Ella no quería ser un desastre.
00:23:53Oh, mi hermano.
00:23:55Mira, tengo un hermano, también.
00:23:57Mi nombre es Edward Taylor,
00:23:59y él vive en el Hotel Grand National.
00:24:01Ella es su madre, también.
00:24:06Ahora, eso es todo bien, ¿verdad?
00:24:08Uh-huh, uh-huh.
00:24:11¿Vas a llevar a casa con ella y cuidar de ella?
00:24:14Claro.
00:24:16¿Y tu nombre? ¿De Gran National?
00:24:19No, no.
00:24:20Es 9006 Flatbush Place.
00:24:23No, no.
00:24:25No, no, no, no.
00:24:319006 Flatbush Place.
00:24:34¿No?
00:24:35No, no, no.
00:24:36No, no, no.
00:24:37No, no, no, no, no, no, no.
00:24:38No, no, no, no, no, no.
00:24:39No, no, no, no, no, no, no.
00:24:41No, no, no.
00:24:42I no me decir nada, pero me voy a ir en la siguiente casa,
00:24:44No, no, no, no, no, no.
00:25:14You don't drink, you don't smoke.
00:25:16And you're not given to entertaining gentlemen calls.
00:25:18Very satisfactory.
00:25:20Then we can have it?
00:25:24Yes, we'll show it to you.
00:25:44Come in.
00:25:48Telephone for you.
00:25:50For me?
00:25:51The police department.
00:25:52Well, it's a gag.
00:25:53Why should the police want me?
00:25:54Don't be disturbed, character.
00:25:56When the police use the telephone, it can't be anything serious.
00:25:59Maybe they just want you to identify a corpse.
00:26:02It's okay, you can go that way.
00:26:04We're informal here.
00:26:06Hello.
00:26:20Yes.
00:26:21This is Eddie Taylor speaking.
00:26:24My mother!
00:26:26Well, if my sister Perry told you that, you can take her word for it.
00:26:30Yes, sir.
00:26:32I'll see to it that my mother is properly fed from now on.
00:26:36Well, I'm definitely fed from now on.
00:27:06No, no, no, no, no, no.
00:27:36Yes, the police call me.
00:27:39No, they didn't finger-bend me.
00:27:42Listen, Perry, how can you get yourself into so much trouble in so short a time?
00:27:46There's been no trouble, not one iota.
00:27:49As a matter of fact, I have something good to tell you.
00:27:51I found a wonderful mother for you.
00:27:54But I don't want a mother.
00:27:56But Redcar needs a mother. Don't you understand the psychology?
00:27:59I don't care if Redcar needs a mother.
00:28:02I'm trying to write a play.
00:28:03Bien, pero no te preocupes porque yo estaba tratando de ayudar a una mujer que estaba hungry.
00:28:11Así que yo he decidido que nuestra madre quedara con ella.
00:28:14Vámonos, dame la facts.
00:28:16Ahora, si te prometes no te preocupes, voy a explicar algo sobre nuestra madre.
00:28:20Sabes, muchas años atrás, ella tenía una especie de tendencia a...
00:28:25...pickpockets.
00:28:28¿Dónde dijiste que nuestra madre, amada, es una notoria de pickpockets con una larga record?
00:28:33¿Puedo o no estar conmigo?
00:28:36Claro que estoy conmigo. ¿Qué más voy a hacer?
00:28:39Pero, perry, ¿por qué?
00:28:42¿Puedes que no se involucran en algo simple?
00:28:45Como una triple muerte.
00:28:47Oh, Eddie, estoy muy desculpando por ti.
00:28:50Y tienes mi orden de decir que no te haré nada para que te sientas o no te preocupes.
00:28:57Ok, perry, ok. No te preocupes conmigo.
00:29:03¿Pero?
00:29:06¿Pero no ponerse?
00:29:07Pero, ¿ stärilias?
00:29:08¿Perrían?
00:29:09¿Pero, perry?
00:29:10¿Pero, costumo?
00:29:13¿Cero tienes un poco de cura sobre la mequita?
00:29:19¿Pero no recuerdo?
00:29:24¿La puedes afterlife...
00:29:26No, no, no, no.
00:29:56Yes?
00:29:57I'm Eddie Tello.
00:29:58I'm expected, I believe.
00:30:07These are my sisters.
00:30:09Miss Pearl Cheever and Miss Opal Cheever.
00:30:11How do you do?
00:30:13He doesn't resemble his mother.
00:30:15He doesn't resemble his sister.
00:30:17No.
00:30:18I-I take after my-my father.
00:30:21Oh.
00:30:22We do not permit smoking here.
00:30:26Oh, I'm sorry.
00:30:28We're very disagreeable.
00:30:30Everyone in the neighborhood says we're mean and spiteful.
00:30:33And utterly selfish.
00:30:35And we are.
00:30:36Yes.
00:30:37I'm sure you're not.
00:30:39We do not deny the truth.
00:30:41We're most unpleasant indeed.
00:30:43And we'd rather you didn't go around Brooklyn saying nice things about us.
00:30:46No.
00:30:52My son.
00:30:53My dear, dear son.
00:30:57It's been so long, my darling boy.
00:31:00You may use the sitting room.
00:31:01Thank you, dear girls.
00:31:02Come along, my sweet.
00:31:03Remember, no smoking.
00:31:04Excuse us, please, dear girl.
00:31:07You could have called me mother.
00:31:08I wanted to call you lot of things.
00:31:09But that triple threat out of this got me cold.
00:31:10Shh!
00:31:11I called you about Perry.
00:31:12Yeah, I shit.
00:31:14Well, it's about time.
00:31:15What would I throw backイً invention here?
00:31:17Maybe a big knife in Paris?
00:31:20When I regulates in Paris.
00:31:21Okay.
00:31:22I do not know anything from a temple.
00:31:24Very true.
00:31:27You may say a big young man.
00:31:30You may use the sitting room.
00:31:31Very true.
00:31:32Thank you, dear girls.
00:31:33Come along, my sweet.
00:31:34Remember, no smoking.
00:31:35Excuse us, please, dear girl.
00:31:36No, no, no, no, no, no, no, no.
00:32:06No, no, no, no, no, no, no, no.
00:32:36What time will you be back, Mrs. Talo?
00:32:39Oh, in an hour or two or three.
00:32:43And thanks for a most unpleasant time.
00:32:46You must come again, Mr. Talo.
00:32:47Oh, I will.
00:32:49Anytime I want to get depressed.
00:32:56We should have listened in on their conversation.
00:32:58We should have.
00:32:59Next time we will.
00:33:00Oh.
00:33:19We are Mr. Hot Dogs.
00:33:21Giant size Hot Dogs.
00:33:22Coney Island special.
00:33:2412 inches from head to toe.
00:33:25I'll have one.
00:33:27You'll have one what?
00:33:28Well, I was under the impression you sold hot dogs here.
00:33:31Well, speak up, buddy.
00:33:32I can't read your mind.
00:33:34Here, get your hot dogs.
00:33:36Everybody likes them only tend to a customer mustard.
00:33:39No.
00:33:41Take it or leave it, buddy.
00:33:42In this business, we got a short season.
00:33:44Excuse me, sir.
00:33:50I didn't mean to offend you.
00:33:52Ah, the Park Avenue type.
00:33:55Here, get your Coney Island Hot Dogs.
00:33:57Great out.
00:33:58Everybody eats them.
00:33:59Everybody likes them.
00:34:00Great out.
00:34:00Well, I told you I didn't want another hot dog.
00:34:03Well, don't eat it.
00:34:04I'm just trying to keep both your hands occupied.
00:34:06Yeah, here, hold this for a minute.
00:34:10Oh, excuse me.
00:34:11Excuse me.
00:34:12I know that little guy.
00:34:16He didn't recognize me, but I spotted him right away.
00:34:19He's called Doc because he looks like a nerve specialist.
00:34:21One of the smoothest operators in the profession.
00:34:24Your profession?
00:34:25Uh-huh.
00:34:26By the way, you better look and see if you still got your wallet.
00:34:35I knew he was lifting level the minute he bumped into you.
00:34:38And I suppose you lifted it from him to prove to me that you've reformed.
00:34:41No, child.
00:34:42I just want to see if my technique is better from the docks.
00:34:45This way, this way, this way, this way.
00:34:48I wish you would, you said.
00:34:49Reform makes me feel so old and new to you.
00:34:51And now, ladies and gentlemen, for your pleasure.
00:34:53I give you the greatest entertainment value on the Midway, Ziggy's internationally famous Water Nymphs.
00:35:01This is it.
00:35:02What's Perry doing in there?
00:35:04We're down here to find out.
00:35:06And I hope she can swim.
00:35:08Presenting the Water Nymphs.
00:35:16There they are, everybody.
00:35:18Ain't they out of this world?
00:35:20And each one born and bred in Brooklyn.
00:35:23And this one, all the way from Texas.
00:35:27Oh, look at that's Perry.
00:35:29Ziggy, she's all right.
00:35:31Well, these girls are not only gorgeous, they're daredevils.
00:35:35As you will soon see for yourselves behind each cloud wall.
00:35:39And now, ladies and gentlemen, I'd like to have you meet the girls personally.
00:35:45Honey, tell the folks your name.
00:35:47Jean Dean.
00:35:49Linda Lombard.
00:35:53Meryl Memmi.
00:35:56Meryl Patrick.
00:35:59Joe George.
00:36:02Jean Stratton.
00:36:07And you, honey.
00:36:13Hey, you.
00:36:15Hey, you.
00:36:17My name is Perry.
00:36:22My name is Perry Taylor.
00:36:28My name is Perry Taylor.
00:36:30Hey, my name is Perry Taylor.
00:36:35My name is Perry Taylor.
00:36:37Keep your hands off of her.
00:36:38Go away, Sonny.
00:36:39You bother me.
00:36:40Right down this way, folks.
00:36:42Come on down.
00:36:43Right down this way.
00:36:44The biggest show on the midway.
00:36:45Come on down, folks.
00:36:46The biggest show on the midway.
00:36:47The show is going on now.
00:36:48Right this way, folks.
00:36:49The biggest show on the midway.
00:36:50See the fire here, folks.
00:36:51Come on down.
00:36:52Right down this way, folks.
00:36:53Come on down way.
00:36:57Deep the jungle and a beautiful Siamese temple dancing.
00:36:59Tickets right this way, folks.
00:37:00Going right in.
00:37:01Right over this way, folks.
00:37:02Get the ticket.
00:37:04¡Suscríbete al canal!
00:37:34¡Suscríbete al canal!
00:38:04¡Suscríbete al canal!
00:38:06¡Suscríbete al canal!
00:38:08¡Suscríbete al canal!
00:38:10¡Suscríbete al canal!
00:38:12¡Suscríbete al canal!
00:38:16¡Suscríbete al canal!
00:38:18¡Suscríbete al canal!
00:38:20¡Suscríbete al canal!
00:38:22¡Suscríbete al canal!
00:38:24¡Suscríbete al canal!
00:38:26¡Suscríbete al canal!
00:38:28¡Suscríbete al canal!
00:38:30¡Suscríbete al canal!
00:38:32¡Suscríbete al canal!
00:38:34¡Suscríbete al canal!
00:38:36¡Suscríbete al canal!
00:38:38¡Suscríbete al canal!
00:38:40¡Suscríbete al canal!
00:38:42¡Suscríbete al canal!
00:38:44¿Qué pasa con el teléfono?
00:38:46¿Qué pasa con el teléfono?
00:38:48¿Qué pasa con el teléfono?
00:38:50Sí, estaba teniendo un poco de comida,
00:38:52pero tengo un estómago muy sensible,
00:38:54y no puedo comer nada con el teléfono.
00:38:56¿Tú me has dicho que has estado teniendo todo el tiempo?
00:38:58¿Qué pasa con el teléfono?
00:39:00¿Qué pasa con el teléfono?
00:39:02¿Qué pasa con el teléfono?
00:39:04Él escribió una película.
00:39:06Yo le he contó, pero he insistió en un personal entrevista con ti.
00:39:10Yo le he contó que estaría teniendo un tiempo.
00:39:12Y en la Tierra de la semana acabó solo para comer.
00:39:14No, ¿por no?
00:39:16No queríaρέ수 Siri tu pas con el teléfono en trabajos.
00:39:18¿Cómo أن me regrets?
00:39:20¿En serio?
00:39:21Tambiéngé esto!
00:39:22¡ v bribe este tema!
00:39:24¿Nos eso me permiteCome回 a mi avocado Lalo y con tapasas?
00:39:28¡ No te preocupes!
00:39:29Es para un febrero de repasar,
00:39:32yo quiero que siga una cosa.
00:39:33En realidad,目 de varios continentes que deben de un teléfono por supuesto.
00:39:35Gracias a todos por el teléfono terra y descarina.
00:39:38Ahora que tengo que saber,
00:39:40No, no, no, no, no, no, no.
00:40:10That's what he thinks.
00:40:11Well, you ask me a question, Junior will have to answer you.
00:40:13I can't.
00:40:15All right, I'll take his opinion.
00:40:19So, Eddie asked Junior.
00:40:21But even Junior didn't like it.
00:40:22Nobody liked it, Eddie was a bust.
00:40:24When I met up with him, Eddie had fire coming out of his eyes
00:40:27and smoke coming out of his ears.
00:40:29Hold it, Mike.
00:40:32You better hitch up that third horse.
00:40:40¿Qué es más?
00:40:44¿Qué es más con lo que?
00:40:46¿Qué es más con la historia?
00:40:48¿Cuántas veces tiene que hacer que me quede antes de llegar?
00:40:53Así que, hermano, solo has estado en la sede.
00:40:56Ahora vamos a ir a lugares, porque aquí es donde me meto con Eddy.
00:41:00¿Recuerdas el bellhop?
00:41:02Bueno, Eddy intentó pasar esa barra una vez más tarde.
00:41:05Es el día que Joe estaba enfermando y me pidió ir para él.
00:41:10¿Qué es más?
00:41:12¿Qué es más?
00:41:13¿Qué es más?
00:41:15Bienvenido.
00:41:16Me siento que me quedó.
00:41:19Estamos preparando para cerrar.
00:41:23¿Qué tienes?
00:41:24Poison.
00:41:26¿Qué tipo de chaser?
00:41:28No seas un comodio.
00:41:29Me un búbano y agua.
00:41:31Búbano y agua.
00:41:38¿Te llamas Mike?
00:41:39¿Por qué?
00:41:41Es mi nombre.
00:41:43¡Oh!
00:41:48¡Quiero una bourbona!
00:41:49Sí, lo sé.
00:41:51Pero voy a probar una de estas.
00:41:53Es una pequeña conciencia de mi propio.
00:41:55Mira, he pedido una bourbona.
00:41:57Sí, lo sé.
00:41:59Pero probaré una de estas.
00:42:01Ahora, ¿puedo probar una de estas?
00:42:08Muy bien, ¿no?
00:42:24¿Qué es esta bebida?
00:42:26¿Puedo probar una de estas?
00:42:28¿A un cabello?
00:42:29¿Vale?
00:42:30¡Vale, Mike!
00:42:31¡Vale, me voy a probar otra cabello!
00:42:39¿Vale, Mike?
00:42:40¿Vale?
00:42:41¿Vale?
00:42:42Sí, solo estoy aquí para el día.
00:42:44¿Jo tiene una cabello?
00:42:45Oh.
00:42:46¿Vale, Mike?
00:42:47¿Cómo se hace esta cabello?
00:42:50Bueno,
00:42:51primero un poco de la luz de la texas.
00:42:53¿Qué?
00:42:56¿Será un poco de la luz?
00:42:58¿Vale?
00:42:59¿Como el pute?
00:43:00¿Oy?
00:43:01¡Gos hay allá!
00:43:02¿Vale, piú?
00:43:03¿Cómo se hace esta cabello?
00:43:04¿Como el pute?
00:43:05¿Le vio?
00:43:06¿Y ya?
00:43:07¿No?
00:43:08¿Cómo se hace una cosa?
00:43:09¿Qué?
00:43:10¿Nos vemos?
00:43:12¿Vale?
00:43:13¿Vale?
00:43:14¿O no lo que remade?
00:43:15¿Vale?
00:43:16¿Vale?
00:43:17¿Vale?
00:43:18Algo dentro de la noche
00:43:19Tintra.
00:43:20¿Vale?
00:43:21Para una buena madre madre.
00:43:25Me gusta, Mike.
00:43:26Tienes un buen humor.
00:43:28Ponlo por ti.
00:43:30Gracias, Eddy.
00:43:32¿Cómo sabía que mi nombre era Eddy?
00:43:34Oh...
00:43:35Él me dijo cuando te llamas.
00:43:38¿Qué?
00:43:40¿Cómo?
00:43:41Oh...
00:43:48Eddy realmente tiró uno en ese día.
00:43:516 horas y 12 horas después,
00:43:53I got the whole story.
00:43:55Howie cost Perry a job
00:43:57and howie was the world's worst playwright.
00:44:00Along with it, I got the idea
00:44:02that there might be something I could do for these kids.
00:44:08Smart thing first.
00:44:10Got Eddy sobered up the easy way.
00:44:13Flat on his back in Prospect Park.
00:44:24Mike?
00:44:25Mike?
00:44:29How is it, Eddy?
00:44:33New world's record for a hangover.
00:44:35Well, the Turkish bath ought to help you a lot.
00:44:38There's one near here, too.
00:44:39Best Turkish bath in Brooklyn.
00:44:40Brooklyn.
00:44:44A truly wondrous place.
00:44:45I thought you'd like it.
00:44:48Prospect Park.
00:44:51Oh...
00:44:53Oh, I could lie here for hours.
00:44:56It's like Texas,
00:44:58without the sagebrush.
00:45:00You know what I need?
00:45:04A long ride on a horse.
00:45:07That picks me up.
00:45:09Well, let's try the Turkish bath first.
00:45:12And while we're there,
00:45:13you can get your clothes cleaned.
00:45:16Then, if you want, you can rent a horse.
00:45:19I'll go along with you on that Turkish bath deal.
00:45:23The horse is out.
00:45:25It's gonna be pouring here in a few minutes.
00:45:28I wouldn't take a mule out in such weather.
00:45:31Say, I know where we can rent a horse
00:45:32and the rain won't even touch us.
00:45:34You can have any kind of a gate you want.
00:45:36Fast or slow,
00:45:37or one that'll rock you like a baby in a cradle.
00:45:40And you can have your Texas sagebrush, too.
00:45:42And where is this heavenly spot?
00:45:44Right here in Brooklyn.
00:45:46This Brooklyn is truly a wondrous place.
00:45:47The Turkish bath was one thing, but this I don't believe.
00:45:58Here I get to ride a horse through sagebrush?
00:46:00Come on, Eddie.
00:46:04So, I took him to Mr. Gabulian's riding academy.
00:46:09It was strictly out of this world,
00:46:12and that included Mr. Gabulian.
00:46:14He was a whacked-up guy, a fugitive from Ripley.
00:46:19Wow!
00:46:21What is it, a zoo?
00:46:23Mike, a man of your work.
00:46:25It's all here.
00:46:27But I'm wondering if I am...
00:46:28Well, it was a place a man could go when he got fed up working nine to five.
00:46:33But two bits of Mr. Gabulian's, he could live dangerous.
00:46:37Sail the seven seas and track down wild game.
00:46:40Yeah.
00:46:42The academy was something.
00:46:44And it was just what the doctor ordered for the kid.
00:46:48Soon as Eddie got one foot inside the place,
00:46:50I could see his troubles begin to peel off.
00:46:53I'll give you your choice of any horse in the place.
00:46:55Use that one.
00:46:56Oh, hello, Mr. Gabulian.
00:46:57Oh, hello, Mr. Gabulian.
00:46:58Oh, hello, Mr. Gabulian.
00:46:59Sorry to disturb you.
00:47:02Oh, hello.
00:47:15Oh, hello.
00:47:16Oh, hello.
00:47:17Oh, hello, Mr. Gabulian.
00:47:20Sorry to disturb you.
00:47:24Oh, hello, Mr. Kaboulian. Sorry to disturb you.
00:47:30Meet my friend Eddie.
00:47:33Eddie and I want to ride your horses.
00:47:35Excuse me, gentlemen.
00:47:37The rain was so heavy, so I think nobody comes.
00:47:40So I have me sleep in the hound on the elephant.
00:47:44Excuse, gentlemen, please.
00:47:46Please.
00:47:48What's he doing up there?
00:47:54That's Captain Lars-Jean.
00:48:01He was a real skipper once.
00:48:19That boat teaches you not to become seasick, huh?
00:48:22I don't know.
00:48:25I guess so.
00:48:33Excuse, please, gentlemen.
00:48:40Boy, I've seen some gems in my life.
00:48:42This is really a beaut.
00:48:44Good afternoon, Mr. McWhirter.
00:48:46Good day to you.
00:48:47It's a miserable day out.
00:48:52Oh, sure.
00:48:53It's good that they are here.
00:49:17Good day to you.
00:49:26Here's Mr. Robert Bruce McQuirter.
00:49:28Here's Mr. Robert Bruce McWhirter.
00:49:29¡No, no, no!
00:49:59¡Suscríbete al canal!
00:50:29¡Suscríbete al canal!
00:50:31¡Suscríbete al canal!
00:50:33¡Suscríbete al canal!
00:50:35¡Suscríbete al canal!
00:50:44¡Viva!
00:50:45¡Suscríbete al canal!
00:51:00Vale?
00:51:01¡SlSí!
00:51:02¿Vale?
00:51:03Quiero que contratas a un joven que te ayudará a este lugar.
00:51:06Tal vez debería de limpiar mi cara.
00:51:08Mis ojos, tal vez están abiertos, pero mi mente no está dormida.
00:51:12Excuse-me, por favor.
00:51:14Mr. Gabulian.
00:51:16Sí?
00:51:18Ella es genial para ti.
00:51:19Ella le gusta de los huesos,
00:51:21y puede resolver cualquier herramienta de herramientas en caso de que algo se vaya mal.
00:51:27¿Vale?
00:51:29Excuse-me, por favor.
00:51:30Mr. Gabulian.
00:51:32¿Y si?
00:51:34Yo lo digo más bien.
00:51:36Ella sería una gran ayuda.
00:51:37¿Puedo ayudarme a qué, por favor?
00:51:39¿Puedo no ver a cliente?
00:51:41¿Puedo no pagar la renta?
00:51:43¿Puedo no comer como un hombre debería comer?
00:51:46¿Puedo eso, señor?
00:51:48No, no es cierto.
00:51:50No debería de me arreglar.
00:51:52Excuse-me, voy a volver a dormir.
00:51:55Mr. Gabulian.
00:51:57¿Puedo no pagar la renta?
00:51:59Sí.
00:52:00¿Puedo no pagar la renta?
00:52:01Sí.
00:52:02¿Puedo no pagar la renta?
00:52:04Sí.
00:52:05¿Puedo no pagar la renta?
00:52:06Sí.
00:52:07Estoy quedando con tres por general.
00:52:08No pagar la renta.
00:52:09No pagar la renta.
00:52:10No pagar la renta.
00:52:11Ah, sí.
00:52:12No pagar la renta.
00:52:14No pagar la renta.
00:52:15No pagar la renta.
00:52:16No pagar la renta.
00:52:17No pagar la renta.
00:52:18¿Undo no pagar la renta?
00:52:19Estoy en el mismo regardless.
00:52:20No, no, no, no, no, no.
00:52:50No, no, no, no, no, no, no, no, no.
00:53:20No, no, no, no.
00:53:20I promise Perry you'd learn to play games.
00:53:22You know how anxious she is to liven up the place.
00:53:25And how are you going to play poker if you don't let me teach you?
00:53:29That's my girl.
00:53:31Well, you have a very bad poker hand, dear.
00:53:33Two, four, seven, ten jacks.
00:53:35Just nothing at all.
00:53:37And if I were you, I'd hold on to this jack
00:53:39because that's your highest card, see,
00:53:40and ask for four more cards.
00:53:42I'd gladly give it to you, nice, fresh new ones.
00:53:45¡Hombre que damosle!
00:53:47¡No, no, no, no, no, ni siquiera tenéis que haré mi atención.
00:53:51¡No, preciote qué tengo que tener!
00:53:53¡Qué es eso! ¡Has un reahido de cuatro!
00:53:55¡Y si puedo obtener cuatro o tres, te van a mí, ¿sí?
00:53:58¿Qué es lo fácil que tu puedas jugar a poco de poco?
00:54:00¡No, no, no, no, no, no.
00:54:04¡No, no, no, no, no.
00:54:06¡Oh!
00:54:08¡No, no!
00:54:09¡No, no, no, no!
00:54:11¡Oh, no!
00:54:12¡No!
00:54:13¡No, no, no, no, no, no, no, no, me sorprende ni nada!
00:54:15La forma en los dos premios lo péssemos en los dos corpos,
00:54:19donde sentimos los dos coches y lejor a la otra,
00:54:23porque una cosa principal, por ejemplo,
00:54:24¿por qué poner una licencia?
00:54:28Ahora, ponemos otro tomo en orden de comprar un cartón.
00:54:32Ven a lado.
00:54:34¡Oh, yo sabía que allí te enseñe a ofender a la playa!
00:54:38Ahora, tres para ti.
00:54:39Una, dos, tres.
00:54:42Y dos para ti, uno, dos.
00:54:45Y cuatro para ti, uno, dos, tres, cuatro.
00:54:50Ahora, no estoy tomando nada.
00:54:55Es lo que se llama un estando pato.
00:54:58Ahora, todos nos vamos a dar la mano para ver quién es uno.
00:55:03Bueno, ahora, vamos, chicas.
00:55:05Si no nos vamos a dar la mano, ¿cómo vamos a saber quién es la chica?
00:55:08Y la chica es la chica, y la chica es la chica, y la chica es la chica,
00:55:13y la chica es la chica, y la chica es la chica,
00:55:15y la chica es la chica, y la chica es la chica.
00:55:19Ahora, tengo una chica, cinco, seis, siete, ocho, nueve.
00:55:21Ahora, ¿verdad lo que te dije sobre la chica?
00:55:25Voy a ser muy difícil de conseguir, muy difícil.
00:55:28Pero eso es el juego de la chica.
00:55:32Eso es lo que es muy divertido.
00:55:34Ahora, vamos a ver lo que tienes.
00:55:35Vamos a ver lo que tienes.
00:56:05Cuatro, cuatro, cuatro.
00:56:08Cuatro de las personas a la chica, eso es lo que te enseñó.
00:56:12Lo que te enseñó, te enseñó eso.
00:56:13Lo que te enseñó.
00:56:16Bueno, vamos a probar otra vez.
00:56:18Tengo un trabajo, un trabajo nuevo, un trabajo muy maravilloso.
00:56:23Oh, la buena información siempre es la buena información.
00:56:25Estoy muy feliz de ti, querida.
00:56:27Es lo que siempre me quería.
00:56:29Horses, un camón, un hilo, un hilo, y muchas otras cosas.
00:56:32No sabía que la chica era en la ciudad.
00:56:33No, no.
00:56:34No, we always know when it comes.
00:56:35We always get free passes from our grocer, Mr. Brickle.
00:56:38No, no, no.
00:56:39It's a riding academy.
00:56:41And all the animals are mechanical.
00:56:42But they're so lifelike, they're practically real.
00:56:45And I'm to be executive manager.
00:56:46Isn't that too good to be true?
00:56:48Oh, no.
00:56:48Pero tengo que tener un hábito.
00:56:51No me parezca como si estuviera en el lugar antes de ir.
00:56:53Sabemos que nuestros queridos chivas son muy bien con el diseño.
00:56:58Nunca hemos hecho un hábito.
00:57:00Solo hay un hábito.
00:57:01Y una copa de cubos.
00:57:02Sí, pero en mi disposición, queridos,
00:57:05tú te ha hecho un hábito.
00:57:06Un hábito más de un hábito.
00:57:08Pero primero, vamos a dar todas las ganas a las ganas.
00:57:11Tú eres el único que ganas.
00:57:13Bueno, creo que voy a enseñar a la playa Gin Rummy.
00:57:15No hay más de 50 otras chicas para el trabajo, pero me he conseguido.
00:57:19En general, esos tres chicas me han ganado por $8.40.
00:57:24Me he intentado blackjack, casino, solitaria...
00:57:27incluso me he inventado una playa y llamé a la chica de la lucha.
00:57:30Pero es un commodity en la que las chivas son parecen a la monopole.
00:57:33Pero es lo que vale.
00:57:35¿Sabes lo que ha sido congenial?
00:57:37Lo sabía que funcionaría y estoy agradecida a ti.
00:57:39Después de todo, es tu dinero, si no importa lo que te preocupes,
00:57:41si te preocupes con los tres de las tres cubos y petticoas...
00:57:44Es que no me parece que se acude a la casa de los niños.
00:57:47No me parece que no se acude a la casa de los niños.
00:57:50Ya lo he convencido, que están aquí a la academia,
00:57:51y que intentan los animales.
00:57:54No entiendo.
00:57:55Esta preocupación, por otras personas...
00:57:57No entiendo.
00:57:59Yo he conocido a muchas personas en mi vida,
00:58:01tanto en las casas, y en la sala de la casa.
00:58:03Pero alguien como tú...
00:58:05¿Qué esperas de esto?
00:58:07Oh, si te hace que a gente se happy, me hace sentir bien.
00:58:09¿Qué es lo que te hace?
00:58:11Pero me está, muy.
00:58:13¿Qué?
00:58:16Te voy a dejar en el secreto.
00:58:18No, no.
00:58:19Y me refiero a ese señor que llamaba Eddie Taló.
00:58:23Sabes, me enamoré de mi profesor de la profesión.
00:58:26Me enamoré de él, me emocionó el río de la persona.
00:58:30Y, por supuesto, me hacía una visión de la cara,
00:58:32porque, después de todo, él era mi profesor de la profesión.
00:58:35Pero tú y este Eddie...
00:58:39¿Cómo se ve?
00:58:40No me preguntan, me preguntan.
00:58:42Lo mire.
00:58:46Mi mamá, me interesa lo que mi vida muy lejos,
00:58:48así que tienes una razón entretenida sobre mi.-
00:58:50Tu hacías algo que...
00:58:52en ciencias, penitencias,
00:58:55pequeñas juelos y ocho werkcópteros.
00:58:59Te nårabas una mujer honesta.
00:59:00Claro que hay muchas larcenas en mí para me estar metida.
00:59:05Pero...
00:59:06quiero hacer algo para ti.
00:59:09¿Te preguntas?
00:59:10I know what you're going to say.
00:59:14Well, then why don't you do it?
00:59:16I can't.
00:59:17I can't now.
00:59:18Not until he's finished his play.
00:59:20Because that's what he wants to do more than anything else in the world.
00:59:24And I wouldn't want to...
00:59:25to clutter things up for him.
00:59:27You could help.
00:59:29That's what a woman's for.
00:59:30To make a man think he's successful.
00:59:34Oh, no, no.
00:59:35He told me definitely.
00:59:36He works alone.
00:59:38After he's a success in the theater,
00:59:40then maybe...
00:59:42Well, maybe that's...
00:59:44Well, I've tried to help.
00:59:48But you have.
00:59:51If I was certain...
00:59:53If I were really certain that Eddie wanted me...
00:59:57You know what I mean.
00:59:59The least you can do is to call up that idiot
01:00:02and tell him you're working and where.
01:00:05I'll do it.
01:00:07I'll do it right now.
01:00:08Do you think you'll like me in this outfit?
01:00:15Well, I don't know about him.
01:00:17But a normal male...
01:00:19Well, a normal male would be very normal about it.
01:00:26Eddie.
01:00:27I took the liberty of coming here.
01:00:35You don't have to apologize for visiting me.
01:00:37I'm not apologizing.
01:00:40I came to say goodbye.
01:00:44Goodbye?
01:00:46You mean, like...
01:00:48farewell?
01:00:48I've been wanting to say...
01:00:50Farewell to everyone.
01:00:52To you, to Mike.
01:00:53Except Mike isn't around.
01:00:57So...
01:00:58Farewell, Barry.
01:01:01Farewell, Eddie.
01:01:03And...
01:01:04Goodbye.
01:01:08They turned down your play.
01:01:09And you're giving up.
01:01:10That's not right.
01:01:11You've got to have faith.
01:01:12Particularly in yourself.
01:01:13Faith?
01:01:14Yes, faith.
01:01:15And don't make it sound like some cheap commodity flooding the market.
01:01:17I didn't come here to argue, Perry.
01:01:19Let's part as friends.
01:01:21Now, we're partying?
01:01:24After I say goodbye, I...
01:01:26I guess the next step is...
01:01:28for us to part.
01:01:32How do you go about it?
01:01:34Well, I wasn't planning on sharing...
01:01:38I was planning on sharing...
01:01:40I was planning on sharing...
01:01:42I was planning on sharing...
01:01:45I was planning on sharing...
01:01:46I was planning on shaking your hand...
01:01:48If that's what you mean.
01:01:50Of course not.
01:01:51Or...
01:01:52Waving so long...
01:01:53Or slapping you on the back.
01:01:55No.
01:01:57That would be in bad taste.
01:02:08You may fall in love with me now.
01:02:11Thanks.
01:02:12Mr. Gaboulian.
01:02:16Mr. Gaboulian.
01:02:19Yes?
01:02:21I have figured out...
01:02:22just how this business should be run.
01:02:24You see?
01:02:26I've made a graph...
01:02:27according to seasonal changes.
01:02:30Excuse me, please.
01:02:31I go back to sleep.
01:02:33And Mr. Gaboulian.
01:02:37Yes?
01:02:38I have made a very detailed study...
01:02:40as to why business has been bad...
01:02:41up till now.
01:02:43A study she makes.
01:02:45It's easy like pie.
01:02:47When nobody comes in...
01:02:48and uses the machine...
01:02:49then business is bad.
01:02:51So far six months...
01:02:52one people...
01:02:53three people come in...
01:02:54so I know business is bad.
01:02:56I know it.
01:02:57Mrs. Gaboulian knows it.
01:02:58And all my relations know it.
01:03:01Now she comes...
01:03:02and makes it with pen and paper...
01:03:04and tells me that business is bad.
01:03:06Big surprise.
01:03:08Excuse please.
01:03:09I go back to sleep.
01:03:13He's upset...
01:03:14because I had him print up...
01:03:15a thousand handbills...
01:03:16to advertise the place.
01:03:17Mandy's going to give them out...
01:03:18in various sections of Brooklyn.
01:03:20You think that'll help, huh?
01:03:22Oh, yes.
01:03:23The point is...
01:03:24so few people really know...
01:03:25about the Academy.
01:03:26All we have are two regulars...
01:03:28like Captain John over there...
01:03:29and Robert Bruce McWhirter...
01:03:31who comes in every day...
01:03:32to ride across the tracks...
01:03:33Is he still at it?
01:03:35Huh?
01:03:37How did you know about him?
01:03:38I think I'll take a pony ride.
01:03:44Why, Mr. McWhirter...
01:03:45are you going to take another ride today?
01:03:47Indeed I am.
01:03:48I've been feeling restless all day...
01:03:50and I thought...
01:03:51if no one else is going to use it...
01:03:53Oh, no, Mr. McWhirter...
01:03:55that camel is yours.
01:03:56Thank you.
01:04:03I've just brought you...
01:04:04three more customers.
01:04:18All right, girls, come here.
01:04:19I just brought you three more customers.
01:04:30All right, girls, come in.
01:04:35They were a little unwilling at first, but here they are.
01:04:39I'm sure you'll all have a perfectly wonderful time.
01:04:42Why shouldn't they have? I just taught them how to shoot craps.
01:04:45They won close to six dollars from me.
01:04:47And the dice will load them.
01:04:54May I offer you the finest horses in the stable?
01:04:56Oh, two girls, take this horse.
01:04:58Have a nanny.
01:04:59Thank you, Adam. We didn't help her.
01:05:01It's cheaper.
01:05:02All right, come on over.
01:05:03Stir up.
01:05:06There we are.
01:05:15What did I get?
01:05:16Let's go.
01:05:23Yippee!
01:05:25Yippee!
01:05:27Yippee!
01:05:28Yippee!
01:05:30Yippee!
01:05:34Let's go.
01:05:35Let's go!
01:05:36Get off, boy!
01:05:39Wouldn't it be wonderful if we could have business like this every day, all day long?
01:05:44Then you'd be completely happy, huh?
01:05:47Almost, Eddie.
01:05:50If only Gabrielian would change the name of the place.
01:05:53Yeah, that's a good idea.
01:05:55I've got a name for you.
01:05:57The Golden Horse Academy.
01:06:00The Golden Horse Academy.
01:06:03It's perfect.
01:06:05Should be a good name for a ranch, too.
01:06:07Let's figure it out.
01:06:08Get out!
01:06:11Oh!
01:06:14Oh!
01:06:15Oh!
01:06:17Oh!
01:06:19Oh!
01:06:20Oh, no!
01:06:22Oh!
01:06:24Oh!
01:06:26Oh!
01:06:27Oh!
01:06:29Oh!
01:06:30Oh!
01:06:32Oh!
01:06:36What can that be?
01:06:38Maybe they're using too much juice.
01:06:39It could be an overload.
01:06:44William, you do something!
01:06:46You hear me, Mr. Gabrielian?
01:06:48You do something right now!
01:07:00Oh!
01:07:26He's real!
01:07:28Oh!
01:07:30¿Dónde está el botón?
01:07:56El botón es el botón. ¿Dónde está el botón?
01:07:58¡Gracias, que se sabe que el botón es la puerta!
01:08:02¡Machar!
01:08:05¡Parte! ¡Parte!
01:08:08¡Parte!
01:08:09¡Parte!
01:08:11¡Lo ponen a lifeboat!
01:08:12¡Hérobados del barco!
01:08:15¡Hejando a David Jones Locker!
01:08:28¡Suscríbete al canal!
01:08:58¡Suscríbete al canal!
01:09:28¡Suscríbete al canal!
01:09:30¡Suscríbete al canal!
01:09:32¡Suscríbete al canal!
01:09:34¡Suscríbete al canal!
01:09:36¡Suscríbete al canal!
01:09:38¡Suscríbete al canal!
01:09:40¡Suscríbete al canal!
01:09:42¡Suscríbete al canal!
01:09:44¡Suscríbete al canal!
01:09:46¡Suscríbete al canal!
01:09:48¡Suscríbete al canal!
01:09:50¡Suscríbete al canal!
01:09:52¡Suscríbete al canal!
01:09:54¡Suscríbete al canal!
01:09:56¡Suscríbete al canal!
01:09:58¡Suscríbete al canal!
01:10:00¡Suscríbete al canal!
01:10:02¡Suscríbete al canal!
01:10:04¡Suscríbete al canal!
01:10:06¡Suscríbete al canal!
01:10:08¡Suscríbete al canal!
01:10:10¡Suscríbete al canal!
01:10:12¡Suscríbete al canal!
01:10:42The old boys rode the stuffing out of the menagerie, but the cash register never rang once.
01:10:56Then, Officer Carmody came in.
01:10:59Well, Merry Christmas, Marcus.
01:11:01I'd like to have you meet my friends Perry and Eddie.
01:11:03How do you do?
01:11:04How do you do, Marcus?
01:11:07I said I'd like to have you meet my friends Perry and Eddie.
01:11:09Oh, how do you do when it very matters to you?
01:11:13I've noticed the lights up here ever since I've been on duty, but I did nothing about it.
01:11:16That's right.
01:11:17Tonight's the night for leaving people alone.
01:11:18Yes.
01:11:20Then I see what looks to me like a crowd of Santa Clauses come into this building.
01:11:23I follow them in.
01:11:24Get the point?
01:11:25Oh, great work.
01:11:26When I saw his eyes pop at the place jumping with Santa Clauses, something snapped in my noggin.
01:11:32Strange, yes.
01:11:33But nothing that would make me report this incident to headquarters.
01:11:36You see, Christmas Eve is a night for leaving people alone.
01:11:40What do you mean there's nothing wrong?
01:11:41Huh?
01:11:42How would it look if a passerby saw them come in and reported it to your superior officer?
01:11:45How would you look if you said you didn't think it was important enough to call the station when you saw a heart of Santa Clauses come in here and take over the writing academy at this time of night?
01:11:52You ought to check with the sergeant.
01:11:54Is that the sort of thing that happens to you every night?
01:11:56But this is Christmas Eve.
01:11:58Well, does that explain the situation as far as an officer the law is concerned?
01:12:01Don't let anyone leave.
01:12:02I'm going to call the station.
01:12:05Come with me.
01:12:09Give me the numbers of all the newspapers.
01:12:11Manhattan is Willis, Brooklyn.
01:12:16Hello?
01:12:17City desk, please.
01:12:20Soda, Pop?
01:12:21Yes, dear?
01:12:22I'll have just a tea, see?
01:12:25Really, girls?
01:12:26Yes, there's a limit to how far we can go.
01:12:27Why?
01:12:28I don't know.
01:12:29Yes.
01:12:31Well, just a few.
01:12:40You sure you're not drunk, comedy?
01:12:42All right, I'll check on it.
01:12:44I'll check on you at the same time.
01:12:47Sure, there's a story in it.
01:12:49Sounds like a lot of human interest.
01:12:51I'll send a man over.
01:12:54Try.
01:12:54Well, if you won't help me, I'll call the police commissioner.
01:13:00I tell you, he does this every Christmas Eve, but he always gets home in time for dinner.
01:13:05Something must have happened to him.
01:13:07Here's the newspaper in the book.
01:13:08Well, give it to me.
01:13:09We want complete coverage.
01:13:1150 Santa Clauses?
01:13:13This time of the night?
01:13:15Have you got the address?
01:13:16Yes, Alice, I've already called the police.
01:13:20Oh, you have too?
01:13:21Well, what could have happened to them?
01:13:24We just got a tip about 100 Santa Clauses, all drunk, running wild someplace in Brooklyn.
01:13:30Yes, lady, I got all that.
01:13:31Now, how was your husband dressed?
01:13:34Oh, like Santa Claus, huh?
01:13:37Maybe he got stuck down the wrong chimney.
01:13:39Now, look, lady, don't take it so serious.
01:13:43We'll find your husband, all right.
01:13:46No sense of humor.
01:13:48Gin.
01:13:49Now, listen to me.
01:14:02Listen to me, all of you.
01:14:05Your wives and your children, your friends and your neighbors, burning up the telephone
01:14:08wires, asking if any of you is behind bars at a police station, or lying all torn to pieces
01:14:13on a hospital bed, or stretched stone dead on a coal slab in the morgue.
01:14:17Well, are you?
01:14:19I've got a list of names to check on.
01:14:22You lads are going home right away.
01:14:24Big smile now.
01:14:25Oh, come on, bigger than that.
01:14:27Smile.
01:14:28There we are.
01:14:28Crazy.
01:14:29You know, with this publicity and everything, you have here a pretty valuable piece of property.
01:14:36Well, Achiever sisters want to buy it.
01:14:38What do you think, Perry?
01:14:40We could always use the money to buy a ranch.
01:14:43In Texas, perhaps.
01:14:46I merely offer it as a suggestion.
01:14:48We'll raise herds of golden horses, Eddie.
01:14:56Real golden horses.
01:14:58Maybe 50 of them to begin with.
01:15:00And a lot of little gold and coke.
01:15:02A hundred golden horses, Perry.
01:15:04To begin with.
01:15:05And after that, well, maybe many more.
01:15:08You know, my grandfather used to have several thousand on his ranch.
01:15:12Eddie Taylor, now don't you start pretending.
01:15:14And so, Eddie and Perry got their ranch, which is what they both wanted all the time.
01:15:27Now, in Texas, babies come on golden horses.
01:15:31None of that stock business in Texas, no sir.
01:15:34And that whole ranch was loaded with gold and horses.
01:15:40You expect me to believe all that?
01:15:45How'd you like the drink?
01:15:47Fine.
01:15:52Didn't even feel them.
01:15:57Come on, Mike.
01:15:58So long.
01:16:02So long.
01:16:02¡Gracias!
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