- 7 hours ago
Mrs Playmen - Season 1 Episode 3
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00:00Good evening viewers, welcome to the show.
00:29Let me remind you of the programs we have tonight.
00:32On Channel 2, we will be airing a new episode of...
00:35Carousel is over, honey.
00:36Shall we go to bed?
00:37Wait, Mama, I want to watch.
00:38Just a minute, okay?
00:39What are you watching?
00:41Is it Senorina Buonasera?
00:42Her name is Emma.
00:44She's the best.
00:45I really like her.
00:46Really?
00:47If you weren't already my Mama, I'd want her as my Mama.
00:51You want her instead, huh?
00:53No, if I said.
00:54And what sets her so far above me?
00:56She's got perfect hair.
00:57It's pretty.
00:58And she's always calm and doesn't smell smoky.
01:01Because you see her on TV.
01:03Maybe when she's at home, she stinks and has messy hair.
01:06I wonder what Emma would be like outside the TV.
01:08We'll leave you to watch the quiz show, Rischietto, hosted by Mike Bongiorno.
01:12Goodbye for now.
01:13Is it true that Playboy's in Italian now?
01:24You got the new Playboy?
01:25Playboy, please.
01:26Hi, you have a copy of Playboy?
01:27You've got a copy of Playboy.
01:29Can I get a copy of Playboy?
01:30Hey, if Playboy come out.
01:31You have a new Playboy.
01:33A new Playboy?
01:34A copy of Playboy.
01:36May I have a copy of Playboy?
01:41Playboy?
01:45They expect to sell 500,000 copies.
01:56It's only went all out on this one, huh?
01:58Even their columns are similar to ours.
02:00They've got cars, cinema, theater, and a column dedicated to chess.
02:03Crazy.
02:04Hey, who knows how many chess aficionados buy Playboy?
02:07And the lighting guys?
02:08It looks like the Oscars.
02:10And the graphic design is modern.
02:11It's impeccable.
02:12Actually, to me, it comes across oafish.
02:14Exactly.
02:14It won't last.
02:15Furthermore, Playboy is getting released after our magazine.
02:18It seems like they're just copying us, but oafish, like Chartreau says.
02:22And we're building a broader pool of new readers that Playboy has never even thought about.
02:26Have you seen all the letters we've gotten?
02:27The Casati story?
02:28No.
02:29The Erotic Bride article.
02:30There are hundreds, and it's women writing.
02:33We're bringing them over to our side.
02:34But the ladies aren't the ones out buying it.
02:37They just read their husbands.
02:38But they build loyalty.
02:38And men won't have to bury other playmen under Corriere della Sera.
02:42Well, the front page says that it's a monthly magazine for men.
02:45That comes off.
02:46That's easily removed.
02:47But what are we going to come up with in the next week that can compete?
02:53We'll be stripping Emma Bellini.
02:55What?
02:57She's the face kids see before Mom talks them in at night.
03:00She's pretty, but also chaste.
03:03She hides her femininity to be reassuring to women.
03:06She's perfect always.
03:06But then again, what happens when the cameras all stop rolling?
03:10Is she the same?
03:12Different?
03:13How does she dress?
03:15And how does she undress as well?
03:17You'll bring Rye down on us all.
03:19But not if we can get Emma under contract.
03:20You can't split now.
03:33You made a commitment.
03:34You committed to it.
03:35Yes, absolutely.
03:36If it wasn't for me,
03:37Eteres' folks would never have let them get married to a girl like you.
03:40Why?
03:40What are girls like me like?
03:42Whores.
03:42Whoa!
03:43She's still your sister.
03:44But he's just saying what everybody's thinking, right?
03:46Okay.
03:46If you leave this house now,
03:54you'll never be welcome home again.
04:16Hey.
04:26Thought you'd never make it.
04:30I hope I'm going to regret doing this later.
04:33What's there to regret, huh?
04:34I wish I had your courage.
04:37It isn't courage, really.
04:38I'm getting kicked out.
04:39That's all it is.
04:40Don't tell me that now you're working in the city.
04:44That I'm gonna just get left here.
04:46No.
04:48Not at all.
04:49No.
04:53It's your mother.
05:05So, what is it?
05:07I just came to give this to you.
05:10No.
05:12But don't worry.
05:14I'm okay.
05:15I have a job.
05:16Everything will be fine.
05:18So, you hold on to this.
05:19You need the money.
05:20Okay, Mom?
05:20Hmm?
05:20Hmm?
05:20Hmm?
05:20Hmm?
05:21Hmm?
05:21Hmm?
05:22Hmm?
05:23Hmm?
05:24Hmm?
05:25Hmm?
05:26Hmm?
05:27Hmm?
05:28Hmm?
05:29Hmm?
05:30Hmm?
05:31Hmm?
05:32Hmm?
05:33Hmm?
05:35Hmm?
05:36Hmm?
05:37Hmm?
05:38Hmm?
05:39Hmm?
05:40Hmm?
05:40Hmm?
05:42It's tricky.
05:42Bellini doesn't even have an agent.
05:44Believe it or not, her contracts go through her husband's hands.
05:46Have you tried the phone book?
05:48No.
05:49Her number won't be there.
05:50She's a celebrity.
05:51Miss Bellini's private line isn't there.
05:53No.
05:53All right.
05:54How stupid, huh?
05:56But no, hang on.
05:56Maybe we just need to call Rye's main desk, and then they can put us through to her.
06:00Don't worry.
06:01I'll manage it.
06:02Ah, you're here.
06:03Ah, you're here.
06:04How's the boarding house we found you?
06:06Mm-hmm.
06:07Is it suitable?
06:07Have you been settling in all right?
06:09Well, it's better than home was, yeah.
06:10Let me introduce Lella.
06:12She oversaw the start of Playman.
06:14Elsa is starting work here today.
06:16For now, show her how things work here, but we'll pick out more specific tasks.
06:19I'll leave it to you for now.
06:22But welcome.
06:25Tell me about your skill sets.
06:27Stenography?
06:28What?
06:29This'll be fun.
06:31Miss, tell me, can you use a typewriter?
06:33No, but it won't be hard.
06:35Come on.
06:36You must know how to tidy up, right?
06:38Yes, I know how to do that.
06:42Playboy's in the next millennium.
06:44Meanwhile, we may be buried long before the holidays.
06:46Yeah, but ideas don't cost anything.
06:48Getting Signorina Buenacela to model for us is such a great idea.
06:52But that's still not certain.
06:56Do you think they'd let me do the photo shoot?
07:03You did one cover, yes.
07:04But stop acting all cocky.
07:07Sarti handles all the important photo shoots.
07:09If he stays, because...
07:11Perhaps if you could mention that I'm happy to do it to the boss.
07:15Come on, even if Bellini does agree,
07:19then she'll want a photographer she can trust.
07:22Certainly not just a novice type of...
07:23But I don't feel like a novice.
07:24Well, you should.
07:25But why?
07:26Because you are one.
07:27Hey, no novice is here.
07:28You are a novice, yes.
07:28No, absolutely not.
07:29So I just spoke to Rai's front desk,
07:32and we have a type of appointment with Bellini tomorrow.
07:35A type of?
07:36It's fine.
07:36We're going to be at Rai.
07:45Are you stupid?
07:47Hey, no worries.
07:48You didn't notice.
07:48We don't mix our private life with our work.
07:53Fine.
08:12Ah, shit.
08:13Climb me up the ladder, huh?
08:25Don't fuck around now.
08:27Hey, I was just kidding, Elsa, okay?
08:31Look, if we have to work together,
08:33it'll be better to let go of your grudge.
08:35I thought you knew it wasn't serious between us two.
08:37I just didn't know how much of a real son of a bitch you were.
08:40Ah, that's mature.
08:41See you.
08:42Not bad.
09:02I mean, you're meticulous.
09:07But work's over, or are you sleeping here now?
09:09No, I'll head out soon enough.
09:11Flick off the lights.
09:12Elsa, just wait.
09:38What do you want?
09:39There's no more for us to say to each other.
09:41You can still reconsider.
09:42I care about you.
09:44We'll buy a nice apartment.
09:45A real nice car.
09:47You won't have to work if we're together.
09:52The ring's pretty, huh?
09:54Payed quite a lot for it.
09:56And now it's yours.
09:57Just leave her.
10:01I'm gonna shout.
10:03Go away!
10:06Is everything all right, miss?
10:10Miss, do you need any help?
10:14One day you'll realize you're making a huge mistake, Elsa.
10:16I'm the man who truly loves you.
10:30Ma'am, good evening.
10:31Good evening, Camilla.
10:32Where are the kids at now?
10:34In their rooms for the night.
10:35Oh, Chiara didn't want her dinner.
10:37Huh?
10:37Listen, watching your children is no trouble.
10:40I just, I'm just not able to stay until nine at night.
10:42Of course.
10:43I'm sorry.
10:44I'm sorry.
10:44Oh, no, you're totally right.
10:47Thanks again.
10:48Good night.
10:48Good night, ma'am.
10:57Hey, sweetie.
10:57How come you skipped dinner?
11:01Well, I just feel kind of bad eating without you.
11:05And besides, I'm not hungry.
11:06I eat cookies, so I'm full.
11:08Sorry, sweet pea.
11:09I worked too late.
11:10And papa, it was just for a while you said.
11:14He'd be here again soon.
11:18How about this?
11:19You get into bed really fast,
11:21and then I'll come back and give you a good night kiss.
11:24Hmm?
11:25Okay?
11:27I can see that you've turned into a true revolutionary.
11:36Whereas you're a fascist who always just bursts in.
11:38You look really good with your hairstyle like that, Hunt.
11:41All right.
11:42All right.
11:50Those guns ain't no fun.
11:53To kill is no thrill.
11:55No one likes to destroy your girl out to beat their trap.
12:10Lorenzo.
12:11Who's that man you're kissing?
12:21That's John Luca.
12:22He studies at Sapienza and is a member of Platerio Baraya.
12:25We meet up every now and then.
12:26Are you together?
12:28Lorenzo, we're both 16.
12:30You want to play house like sweethearts with a little ring, too?
12:33I want a different kind of relationship.
12:37Different?
12:37How so?
12:39Something free.
12:51Can you pick the up at least?
12:52I'll try it for me.
12:53I promise.
12:56Morning, Mrs. Bouswell.
12:57Morning.
13:00Please.
13:00How beautiful.
13:02Are those for us?
13:03Your husband has planned festivities for today.
13:06Mama, let's go, please.
13:08I'll go right to school tomorrow.
13:09Please, please, let's go.
13:10No, you're going to school.
13:12Tell my husband not to hold his breath.
13:14Yes, I'll tell him that.
13:15Bye.
13:16Goodbye.
13:16The script, Mrs. Bellini.
13:24Thanks.
13:26Three, two, one.
13:29Good evening, viewers.
13:30Welcome.
13:31In a few minutes, we will show you the tales of Father Brown.
13:34The director of this television series is Leandro Castellan.
13:37Listen, I was thinking, if we can get Bellini to agree to do this, maybe we offer the shoot to Poggi.
13:45Oh.
13:45He's talented, right?
13:47And besides, we could always pay him less, right?
13:49As compared to Sarti, which charges so much.
13:52Well, first we need to pull a yes out of Bellini.
13:55But who knows?
13:56Of course.
13:57Mrs. Bellini?
14:01Yes?
14:01Reception told me there are visitors down in the lobby for you, and they're from Playman.
14:05Uh, yes.
14:06I remember that they had wanted to talk, but I just can't imagine what it's about.
14:10Well, what do you think they want?
14:18She wouldn't even meet with us.
14:20It's a shame, because it was an amazing idea.
14:23Yes, but amazing ideas still have to be in the realm of somewhat practical.
14:25She just doesn't have Saro's talent, you know?
14:28Like how he convinced Stephen Bardot.
14:30And Saro could even convince the Pope, yes.
14:32I'm aware, Bianchi.
14:35Anyhow, we still need something that can make the front page right away.
14:37Yes, of course.
14:39All right.
14:41Don't let him bother you.
14:43Well, actually, he's right.
14:45I know that I have to convince people.
14:47It's one of the utmost fundamentals of my work.
14:49I'll get better.
14:50We're all under a bit of pressure right now.
14:52And being as frenetic as we are isn't much help, I know.
14:55Thanks for your support.
14:57Original ideas deserve to be supported.
14:59And frankly, being able to show all of Italy the central side of Signorina Buonasera
15:02seemed like a really great idea to me.
15:04But why speak in the past tense?
15:06Oh no, I'm not quitting.
15:07Pretty, right?
15:19Seems to be a weird spot for Spice.
15:22Well, young lovers meet here.
15:24That's why it's safe.
15:28So then, how was your day at work?
15:31They had me reorganizing invoices all day.
15:35They owe money, a bunch of it.
15:36They're on the edge.
15:38That's helpful, thanks.
15:40That it?
15:41Now they want Emma Bellini to be the cover.
15:44Wait, Signorina Buonasera?
15:46Showing her tids off, huh?
15:49What's so funny?
15:50No, sorry.
15:51It's just, at the police station, we're all men.
15:54And thank you for your hard work on this.
15:59And the more information you share, the sooner you'll get your revenge on them.
16:04No, look, I'm not out for revenge at all.
16:06I just want the money like you promised, then I'm getting out of here.
16:13What's been making you act this agitated?
16:15I told you, it's perfectly safe here.
16:18It's, it's getting late, and I don't like walking home after dark.
16:23I'll give you a ride and some company.
16:26Then they'll see us together?
16:29Just let me or I'll worry.
16:35Okay, come on.
16:37Sweetie, what should we call that doll?
16:39Julia.
16:39Julia?
16:40Look at her clothes, look at her clothes.
16:42She looks Russian to me.
16:44So, how about Natasha?
16:45Yeah.
16:46Natasha's nice, right?
16:46Mama, look, guess who's here?
16:48He came back home.
16:52Dinner's almost ready.
16:53Oh, a maid was here, but I sent her away.
16:55And I helped him cook dinner.
16:56Yeah, she's been great, especially chopping potatoes.
16:59I decided to let her use that really big knife we have, and she...
17:01Just a joke.
17:03Come on, honey, why don't you gather up all your new toys and take them to your room, okay?
17:07Or else no french fries tonight, all right?
17:09Go on.
17:10Hi.
17:14Tell me just once that you missed us, and I'll smash you through the picture window, got it?
17:18It was you who threatened to jump not too long ago.
17:20You ran the magazine not too long ago.
17:22Things changed when you bailed.
17:23Yes, and you've done a fantastic job, like with that issue on the Cassati couple.
17:26Don't bother with compliments.
17:27They're all true.
17:28But why are you here?
17:30Do you want to get arrested?
17:31I would have risked life locked away in prison to see you and the kids today.
17:34Of course.
17:34Know what today is.
17:35No.
17:36I wanted to reserve a suite at the Grand Hotel because it's our anniversary, but...
17:40Oh, but that might attract attention, huh?
17:42So instead you rented a Jaguar.
17:44Who knows what you paid for it?
17:46But then I'm pinching pennies while you do that.
17:47Hey, could we please put these silly problems to bed and celebrate something good, huh?
17:52Just for today?
17:53Can we try to do that?
17:53All done.
17:54Can we eat now?
17:55I'm starving.
17:56Yes.
17:56And Lorenzo?
17:57Lorenzo?
17:57I called him, but he said he won't come out.
18:00He's an idiot, and he's always angry.
18:02It's normal.
18:03Let us age.
18:03It'll pass.
18:04Come on.
18:10And here's your warm milk.
18:11Just how you like it.
18:14Remember to drink it slowly, though.
18:16Okay.
18:18Spoiling her is easy, since I'm the one who deals with it.
18:24Exactly.
18:25So why only spoil her, then?
18:27I got you something.
18:30No.
18:31No, it's a bad year to give me anything.
18:33Besides, I had to sell all your other presents.
18:35No, I'd really appreciate it if you didn't sell this one.
18:41Open it.
18:49I signed the lease for the magazine's first offices with that, and I used that pen to sign
18:53all of the other contracts.
18:54Bardot, too.
18:55I want you to use it when you sign Mrs. Bellini.
18:57Remember how we convinced Miss Cardinale, huh?
19:01Her agent wouldn't even talk to me on the phone.
19:04How do you know I want Bellini?
19:06Even though I was gone, I still would worry quite a lot about my life back here.
19:13You mean the magazine, right?
19:19As of this moment, Playmen is still open only because of you.
19:21I just want to thank you.
19:25I just want to thank you.
19:40What is it?
19:44Quit it.
19:45Lorenzo?
19:53Can we talk?
20:01Lorenzo, let's talk.
20:01Come out.
20:02You've been in there the whole night.
20:04Give me a chance to explain things.
20:14I really love you.
20:16You hear me?
20:16You hear me?
20:17Did you talk to Lorenzo?
20:38When we were still just kids, and I argued with my father, and he would beat me like always.
20:55Then I'd sneak out of the house to see you on the building's roof.
20:58You were desperate.
21:00But I had you, thank goodness.
21:05You were the only one who could help me calm down.
21:12And that rooftop sure saw a lot of action, didn't it?
21:15It sure did, yeah.
21:17No matter the weather.
21:18Yeah.
21:19Come on.
21:20No one gets me except you.
21:30No one does.
21:33Just the two of us.
21:35The two of us.
21:44Let's have another kid, huh?
21:45I, no, I, it's a bad idea, Saro.
22:01That's true.
22:02That's true, and it's because.
22:03What?
22:04Because the two of us, you, our relationship, everything we have together.
22:11It's not just sex, you know.
22:12You and me are indestructible.
22:16Then why are you the one who's always trying to destroy us?
22:19Just listen, okay?
22:20Listen.
22:22Are you still seeing that girl?
22:28There's no one else.
22:30It's always been you, only you.
22:36You better leave now.
22:38Or the neighbors might call the police on us.
22:42You're all right.
22:51Bye.
22:52Bye.
23:06Seems he's taken off again, right?
23:08For the moment, it's best if he hides, otherwise he'll get arrested.
23:11He always wins in the end, huh?
23:13You fall for his lies over and over again.
23:15You're such an idiot.
23:16Come in, then.
23:21You wanted to talk?
23:22Yes.
23:23You're with me today.
23:24Rye's doorman told me where the elusive Miss Bellini stops for lunch.
23:29Like clockwork.
23:30Something wrong?
23:37A couple problems with my son.
23:37You'll understand once you're a mother.
23:39I don't think I want to be one.
23:40How are you?
23:40How's the office so far?
23:41Lela told me she put you in charge of reorganizing the archive.
23:43Yeah, and I sorted a bunch of invoices, seems like I've got a knack for it.
23:48How'd they look?
23:49You want me to be honest?
23:49Mm-hmm.
23:50You must.
23:51Well, it seems to me some expenses are phony.
24:20Like there was ten million lira of stationery in a year.
24:24Ten million?
24:25Seems a bit much for paper and pencils, right?
24:28Well, let's just focus on Mrs. Bellini for now.
24:32Good morning, Mrs. Bellini.
24:34Please, follow me.
24:35Of course.
24:36Here she is.
24:38Right here, Mrs. Bellini.
24:40Let me bring you the menu.
24:50The Twilight of the Soul Woman.
24:52I was so inspired.
24:53After I watched that movie, it's great.
24:55What was that one line again?
24:57There are two types of men, you know.
24:59There are married ones.
25:00And then faithful ones.
25:02Yes.
25:02Yes, that was actually one of very few lines that I had in the whole movie.
25:05I'm afraid I had such a small part in it.
25:07How come nobody else casts you in films?
25:08Well, it's because it probably meant that I wasn't big star material, I guess.
25:13I was only good enough to read ads.
25:15It's a complete waste, to be honest.
25:17You're just so refined and cultured and sexy.
25:21They treat you like a pretty statue instead.
25:24All you play men's sharks just can't stop, can you?
25:28Well, because we don't want you to have to settle for the role that's been imposed onto you.
25:32To be cast as a wife and homemaker, all of that.
25:35But it pays, it's work.
25:36Of course.
25:38And I'm proud of all the work I do as a mother and a wife, too.
25:41Absolutely.
25:42That's why it's about demonstrating, even in traditional roles in society,
25:46women all have a strong and innate erotic sway.
25:48They don't have to hide.
25:50And I think you have enormous potential.
25:53You know why I'm such a cherished woman to the public?
25:56Most people love me because they show me as a pretty little statue.
26:00There's a lot more to you than some statue.
26:01Yes, I know that.
26:02But if I decide to appear naked on your front page,
26:06it would undoubtedly sabotage my career.
26:08No, quite the opposite.
26:10If you'll excuse me, I'm eating my lunch.
26:13Here you go.
26:18Well?
26:20We made a great team today, even though she didn't bite in the end.
26:24But it's not over yet.
26:26What matters is betting on the right horse.
26:28She didn't say no.
26:28Mrs. Balsaman, Sarti has accepted work elsewhere.
26:34Think about it.
26:35This whole thing is about to go on.
26:37You'd better get off the ship.
26:38Here's the list you asked me for.
26:39They will bury us in gold.
26:41Sarti, what the...
26:42Yes, sorry, ma'am.
26:43I would have liked to have told you this personally myself,
26:46but in this office, news always just...
26:47Is it playboy?
26:48It is, but no hard feelings.
26:50Good luck.
26:50Bianca, you leaving?
26:51I'll stay on.
26:56Lela, is Chartreau in his office?
26:58Yeah, I can be there, trust me.
27:00In front of the Mexican embassy?
27:01Yeah, I know where it is.
27:03I'm sorry, but the key is where?
27:08Uh, sorry, I gotta go.
27:09I can't...
27:10Yeah, yeah, I'll explain later.
27:12Planning to desert us?
27:13It just seems like everyone's running away.
27:16Oh, don't worry.
27:17I'm not planning on running from this.
27:18Great, that's good to hear.
27:19All right, to start off,
27:22can you get to work reassigning
27:23all of Sarti's top projects to Pudgy?
27:25Huh, happy to.
27:27Do you have an appointment?
27:34Be back.
27:41Elsa.
27:42Yes?
27:45You need to follow Chartreau.
27:47Why?
27:48Because I said so.
27:49Your wife was there.
27:54I couldn't go into your office.
27:55What key are you talking about?
27:56Well, it may not open the gates of paradise, no.
27:59But it'll help me hold out longer.
28:02Once it settles down a bit here
28:03and it's safe to return,
28:05we launch the magazine again.
28:07The two of us.
28:11Look, Mrs. Balsamo has a handle on this.
28:13And she has good ideas, too.
28:15Some good ideas.
28:18Good ideas won't be enough to fend off Playboy, you know that.
28:22And Adelina's very intelligent, yes,
28:24but I've got ideas, too.
28:26Like pornography.
28:27Well,
28:28you mortalist now or what?
28:31No, no, no.
28:32For me, it's a question of aesthetics,
28:34never of morals.
28:35Aesthetics.
28:36Oh, of course.
28:38It's fine.
28:39Let's mull it over.
28:41Listen,
28:41bring me that key, huh?
28:44All right.
28:44Well, Sartey leaving really paved the way for it,
29:00but still,
29:01regardless,
29:01his job is yours.
29:06Okay.
29:07Okay.
29:07That's enough.
29:14Mr. Chartreux.
29:25Hit me.
29:26Mrs. Balsamo is waiting for you.
29:29What a mess.
29:30Look at my hands.
29:34Yes, what is it?
29:37Oh, yes.
29:38Come in.
29:44You're fired, Chartreux.
29:48Why am I fired?
29:49Disloyalty.
29:51I saw it clearly
29:52when you secretly consulted with Saro.
30:01It's not my intention to deceive you, ma'am.
30:03Sure seems like it.
30:08In your bottom drawer,
30:09there's a key at the back.
30:14It opens a safety deposit box
30:18where your husband kept a slush fund.
30:20So that's where he stuffed
30:20the stationary money, huh?
30:23I assume you knew?
30:24I kept in contact with Saro,
30:25that's true,
30:26but the safety deposit key
30:27was a complete shock to me.
30:29I agree with you.
30:30The magazine needs that money.
30:33I'm not happy that Saro's been
30:34transforming, Playmen.
30:36In any case,
30:36this is no longer your problem.
30:37You have a visitor,
31:06Mr. Rossetti.
31:07Hi.
31:08Hi.
31:11This a bad time, or...
31:13Well, recently, good times.
31:15I haven't had many.
31:17How about this to cheer you up?
31:19Hmm.
31:20With the bank's reach,
31:20I found a holding company
31:21to acquire Playmen.
31:23The move now.
31:24They'll pay you very well.
31:26Wow, that was really fast.
31:28If you ask me,
31:29you should take the offer.
31:31The deal's only on the table
31:32until Playboy destroys you.
31:34Nobody knows for sure
31:34who'll come out on top.
31:36Adelina.
31:36You tried every possible solution,
31:38all without Saro.
31:40But this is Playboy
31:41and Rizzoli.
31:42You'll find the total
31:54down at the end.
32:01Consider it.
32:03Just be quick, okay?
32:03Okay.
32:04Your opinion?
32:11Your opinion?
32:17When someone's willing to gamble
32:18this kind of cash on a has-been,
32:20it always spells scam artist.
32:21Yeah, all right.
32:32Come on, there.
32:34And you're sure it's not bigamy?
32:35Come on, please.
32:36I beg you.
32:37I said I handled all that, didn't I?
32:39It's what lawyers are for, okay?
32:40And I pay them,
32:41so stop worrying.
32:42Tell her.
32:42Cozuelo, try not to worry about anything.
32:45I had the church confirm,
32:46and they're sure that this previous marriage
32:47is getting completely nullified soon.
32:49The church says so.
32:50And we celebrate now instead, huh?
32:55Margarita, here.
32:56What's with the show?
33:00Can't we sign the damn thing and be done?
33:02Hey, let me first advise you
33:04to take off your old ring,
33:05or the show will turn into a farce instead.
33:08You want to get extradited?
33:10Hmm?
33:10Do you want to get extradited, Dan?
33:12Huh?
33:12No, no, no, no, no, no.
33:14If you don't want to get extradited,
33:15then you've got to turn into a Mexican citizen.
33:17I'm getting the picture.
33:19Yeah, I know.
33:19And just look at Gonzalo, huh?
33:21She's so happy right now.
33:23To all the dear friends present here,
33:24we've been gathered today
33:26for the union of this man
33:28and this woman in matrimony.
33:32Balsamo Rosario,
33:33do you take this woman
33:35to be your wedded wife?
33:37To live together in marriage?
33:40To love her, comfort her,
33:42and care for her?
33:43In sickness and in health?
33:46Being faithful only to her
33:48for as long as you both shall live?
33:54Yes, I do.
34:07Mrs. Bellini, we're almost on air.
34:09We're late.
34:10I can go.
34:10I can go.
34:11One second.
34:13Three, two, one.
34:15Hello again, viewers.
34:17Welcome.
34:18The soccer game you watched
34:19was between Italy and Hungary.
34:20Bye for now, viewers.
34:21All our programs are...
34:23are completed.
34:24Good night.
34:27What was shown?
34:28All of it.
34:35Mrs. Balsam.
34:37Morning, Lella.
34:38So I checked at the Chamber of Commerce
34:40just like you wanted,
34:41but the financiers Roseffi found
34:42have offices in London
34:43but are American.
34:45Roseffi tried to get away
34:47with the double-cross.
34:48He's working for Playboy.
34:51Call him to play the guy.
34:53To take the deal.
35:06My mother slaps me around
35:07but still submits to my father.
35:10I would never have guessed it.
35:12I mean, she acts so strong
35:15and determined.
35:16It's all just an act.
35:19She's become such a doormat now.
35:21What about your father?
35:23You never mention him.
35:24You don't have any photos together.
35:27I don't really know my father.
35:30I did see him once
35:31but at a distance.
35:35He was with his kids,
35:37the real ones.
35:38I kept quiet and just left.
35:44He was already married
35:46when he cheated with my mother.
35:48She got pregnant
35:49and then he left her.
35:52But still,
35:53she puts it like
35:55it's much better
35:57to keep the number of dicks
35:58down around here.
35:59Yeah.
36:03So you and I
36:04won't be getting married.
36:05Fuck that happy couple shit.
36:24Yes, what is it?
36:25I had five million
36:32total spectators
36:33see me live
36:34when my top fell down
36:34the other day.
36:35Everyone at Rai
36:36is mad enough
36:36to kill me now.
36:37You came over
36:38to take refuge
36:39here in my office, huh?
36:41Look at this.
36:42Just let me find it quick
36:43because there are
36:44really so many.
36:46Ah, here's one.
36:47We're airmen
36:48who are stationed at Caserta
36:49but we nearly dropped dead.
36:50You're so gorgeous.
36:51And I have one
36:52from a woman.
36:53Wait, while I dig
36:53it out of here.
36:54This one here.
36:55Listen.
36:56Bless you, miss.
36:57Glad you're human.
36:58With an exclamation mark.
37:00That evening,
37:00a friend of mine
37:01called me with a story
37:02about how her daughter
37:03saw it and yelled out,
37:05Look, mama,
37:05it's Emma
37:06and her balloons
37:06bounced out of her shirt.
37:08How silly.
37:09I'd gotten so used
37:10to just being
37:11a type of pretty statue.
37:12A statue that only
37:13recites her lines
37:14with a perfect accent
37:15and diction
37:16that doesn't
37:16experience emotions
37:18or have a body.
37:20You know what?
37:21I'm scared
37:21someone might notice
37:22I sweat.
37:23But you're right.
37:24Audiences are starting
37:25to change.
37:26Everyone was actually
37:27thrilled to find out
37:28the statue was
37:29just a human being.
37:31So I'll be
37:32your model then.
37:33But it's also for me.
37:35Because I want
37:36to feel proud
37:36of the woman
37:37who I really am.
37:38For once, at least.
37:39I want to show them
37:40my real self.
37:42But what if the folks
37:43on national television
37:44get angry with you?
37:46They can fuck right off.
37:48Sir, the contract
37:53has arrived.
37:53Thanks.
38:00We no longer
38:01depend upon anyone.
38:04We have new
38:05financial resources
38:06at our disposal
38:07and we're free
38:08to begin a brand
38:09new chapter.
38:10We will no longer
38:11be known as
38:12Saro Balsamo Editorial
38:13but Tati del Editorial.
38:16Congratulations
38:16my treasure
38:17I was just going.
38:17I've got yours.
38:18All 90 million.
38:20And it's just
38:20what I needed
38:21to silence the bankers.
38:22Adelina, without that
38:23I'll be a rescue.
38:25And yes,
38:27the new playman
38:27is going to strip
38:28the woman
38:29most beloved
38:30by all Italians.
38:31Signorina Buonasera.
38:33It features an interview
38:34asking who she is,
38:36asking what her ambitions are
38:37and what she desires
38:38because we want to prove
38:40to everyone
38:41that Mrs. Emma Bellini
38:42is a beautiful,
38:44intelligent woman
38:45but also a modern woman
38:46beyond her role
38:48as Signorina Buonasera.
38:49I'll still pay you monthly.
38:51Of course,
38:51this allowance
38:52isn't enough
38:52to find your vices
38:53so be prudent, my dear.
38:55But if you dare
38:55call even the lowliest
38:56of our typographers
38:57then it stops there.
38:59The women at Playmen
38:59are hot, refined,
39:01intangible
39:01just like Mrs. Bellini.
39:03The models
39:03that have been favors
39:04they look almost
39:05like classic Barbie
39:06but then again
39:07men in America
39:08are a bit childish
39:09and prefer voluptuous girls.
39:10Thinks you went nuts.
39:11No, I don't think so.
39:13So now what?
39:14Is it a feminist drag?
39:15No, it's an erotic one.
39:16In my conception
39:17of eroticism
39:17women with their own
39:19desires
39:20and the right
39:20to enjoy their own pleasure
39:22are protagonists
39:23just as much
39:24as any of you men.
39:24Without me?
39:25Playboy will smash you flat.
39:26Mm-hmm.
39:28Hello?
39:29This way, this is possible.
39:35I would have thought
39:45this party was
39:45for employees only.
39:47Is this a type of punishment?
39:48No.
39:49I'm re-employing you.
39:50I want you to serve
39:51as our editor-in-chief
39:52so that next time
39:53they can arrest you
39:53for a night in jail.
39:56May I ask you
39:57why you changed your mind?
39:58Because nobody's better
40:00and because you know
40:01the trade
40:01and because I'm sure
40:02you can help us grow
40:03and launch the new magazine,
40:05I want us to write articles
40:06that can address
40:06any topics that are taboo.
40:08Things like male contraception,
40:09the swinger lifestyle
40:10and problems getting erect.
40:13The transsexuals around the city
40:14and homosexuality.
40:16It seems to be
40:16a pretty ambitious goal.
40:18And I want to make changes
40:18in the editorial staff too.
40:20What's the plan
40:21on that front?
40:24Bianchi.
40:26He's out of here tomorrow.
40:29Who will fill
40:29his old position then?
40:31I will.
40:32With the help of Elsa,
40:33she has an aptitude
40:34for numbers, looks like.
40:36Huh.
40:37And may I just say this?
40:39Please.
40:39Paji's brilliant.
40:41He can make it
40:42even without you
40:42paving the way.
40:54So then,
40:55when am I going to be
40:55a cover model?
40:57Once you're working
40:58as an announcer for Rhyme.
41:00But I want something more.
41:01I want to be the host
41:03on Kansanissima.
41:04Will you help me?
41:06One thing at a time,
41:07but we'll see, right?
41:09Hmm.
41:09Which thing to begin with?
41:11I want to be with you.
41:13I want to be with you.
41:17Keep me posted.
41:19Keep me posted.
41:23You're having fun?
41:27But why not?
41:29I'm allowed to.
41:30Are you jealous?
41:31Hmm.
41:32No jealousy.
41:33Trust me on that.
41:34Go about doing what you want.
41:36Like fucking whoever you want.
41:38Do it with women or men.
41:39I bet you plan
41:42to screw us all over.
41:44First me,
41:45then Chartreau.
41:46What kind of asshole
41:47are you?
41:50The kind of asshole
41:51who's trying his best
41:52to survive.
41:54How about you?
41:54How beautiful you look tonight.
42:16You must like men staring,
42:17but not me.
42:18Is that how it is then?
42:21Easy, Elsa.
42:22I won't do anything to you.
42:24I love you.
42:26I already told you that.
42:27No.
42:27Just calm down.
42:28No.
42:29No.
42:30Don't you get that
42:31I like you for real?
42:31Listen to me.
42:32No, let go.
42:33Don't you get it?
42:34Hey.
42:35I do love you so much, Elsa.
42:37No, let go.
42:37Whoa.
42:38Hey.
42:39If you go near her ever again,
42:43I'm going to kill you.
42:44Get out of here.
42:45You all right?
42:58Then let me walk you.
42:59I'll be right back.
43:13Where are you going?
43:32To Anna's place, just to crash.
43:37I'm sorry.
43:39When I slapped you like that the other night,
43:40I made a mistake, honey.
43:42I'm really sorry.
43:43And you were right.
43:47Your father's a manipulator.
43:50He made a fool out of me, I know that.
43:53And what are you?
43:55You act like women are your first real concern.
43:58But really, you just see naked women as revenue.
44:00Who told you something like that?
44:02Her mother, Anna's?
44:03No, I actually think for myself.
44:08Do you think the magazine really means that much?
44:10I bet it's to prove to Dad who's more capable.
44:17Careful, or you'll end up like Dad.
44:19No, honey.
44:20Me.
44:26I...
44:27What?
44:28Wait.
44:29I...
44:32I...
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