- hace 10 horas
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 EL "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 muchos 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 EL "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 muchos 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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00:00:00¡Gracias!
00:00:30¡Gracias!
00:01:00¡Gracias!
00:01:30¡Gracias!
00:02:00¡Gracias!
00:02:02¡Gracias!
00:02:18¿Qué pasa, Joe? ¿Estás nervioso?
00:02:20Oh, este trabajo me da ganas.
00:02:22You're new here, but in a couple of months,
00:02:24you'll get as jumpy as me.
00:02:26I've worked around sanitarios before.
00:02:28It's not so bad.
00:02:30I like the Coopers myself.
00:02:32They're the same as anyone else,
00:02:34only they're smart enough to admit they're nuts.
00:02:36Look at him.
00:02:40That guy sings every night,
00:02:42and it's making me screwy.
00:02:44We ought to keep him out of that recreation room after hours.
00:02:46Who is he?
00:02:48Nobody knows. Not even the guy himself.
00:02:50He's picked up on the streets.
00:02:52Amnesia case.
00:02:54He's been here ever since.
00:02:56Come on, let's get a cup of coffee.
00:02:58Come on, let's get a cup of coffee.
00:03:00Let's go.
00:03:02Oh, Mr. Lamar.
00:03:04Perhaps you are wrong
00:03:06that that stupid capital has stolen your heart.
00:03:10No, no.
00:03:40How many times have I told you not to interrupt my singing?
00:03:51Every night for seven years.
00:03:54So there is only one answer.
00:03:57Either you quit singing or I'll quit bringing the paper.
00:04:02I don't know what you're talking about.
00:04:10What do you mean?
00:04:34¿Pero qué?
00:04:38¿Puedo decir algo?
00:04:40Me acuerdo ahora.
00:04:43No te supongo quién eres, ¿verdad?
00:04:49¡Tengo que salir de aquí!
00:04:51¡Claro, claro!
00:04:54Solo, simplemente, por favor.
00:05:00Me voy a llevar a tu casa.
00:05:02y voy a la superintendencia.
00:05:32¡Gracias!
00:06:02Los Angeles Police calling car 17 car 17 man answering description of escape maniac just seen at 16th and Hill. Step on it, boys. That is all. Roberts.
00:06:19Another one of those phony leads.
00:06:21Our only clue a torn newspaper containing plenty of pages of news of which any one item may have caused that man to become violent.
00:06:36Well, this is not a sequence. Who has an idea?
00:06:39Why do you keep harping on that newspaper? Maybe he just tore it up as sort of an emotional outlet.
00:06:43Any other clever thoughts?
00:06:45How do we know he's even in the city? We have no leads.
00:06:47Besides, we haven't any pictures to go by. The asylum never takes any.
00:06:50We've run down every angle, Inspector, and most of them are phony. Every railroad, terminal dock, bus line, and main arteries being watched.
00:06:56Now, what else can we do?
00:06:58Sure, and I even checked all the airports personally.
00:07:00That's fine, Kelly. Now you better cover all the merry-go-rounds and sink railways next.
00:07:04Why would this man get money for airplane rides? He's been a charity case for years.
00:07:08Now, I want every one of you to get this. As long as that man is loose, it means that he may strike at any time, any place.
00:07:14I want you men to cover every foot of ground around the asylum.
00:07:17Check every house, gas station, every road out of there. Some place there's a clue. Find it. Now get to work.
00:07:27Kelly, you stay here. It might do you a little good to meet a real detective.
00:07:31Ask Mr. Chan to come in. Wait a minute. You haven't called Chop Sui in on the case, have you, Chief?
00:07:41No, but it's not a bad idea. Then take your hat off. You can learn a little politeness from the Chinese, too.
00:07:46Thank you so much. Honorable Father once say, politeness, golden key that opens many doors.
00:07:54Right. Glad to see you, Charlie. I was hoping you'd drop in before you went away.
00:07:58Yes, work finished. Return to Honolulu by midnight boat.
00:08:02Can't be separated from that family of yours, then?
00:08:04Become a habit. Like a murderer, always return to a scene of crime.
00:08:08Oh, Sergeant Kelly.
00:08:12Salutations. So pleased.
00:08:15Sit down, Charlie.
00:08:17Thank you.
00:08:20I wanted to congratulate you on the racetrack case.
00:08:23That gang of racketeers nearly ruined American horse racing.
00:08:26A humble servant very fortunate in stumbling on solution.
00:08:30Ah, lucky, eh?
00:08:32Yes.
00:08:36Confucius say, luck, happy combination of foolish accidents.
00:08:42Well, tell me, Charlie, how did you ever happen to hit on the clue?
00:08:45It was so small, so obscure.
00:08:47Small things sometimes tell large stories.
00:08:51For instance, very obvious here that many men indulge in nervous fit.
00:08:57Perhaps unfortunate assistant received dressing down on carpet?
00:09:03Say, how did you wise up to that?
00:09:06When policemen on small pay discard large cigar after two puffs,
00:09:12sure sign of distress.
00:09:14Also note cigarette die in infancy.
00:09:18Yeah? Well, suppose you tell us what case we were being balled out on.
00:09:21That ought to be easy for him.
00:09:23Not difficult.
00:09:25Escaped maniac.
00:09:27Case number A469W.
00:09:30The morning press, eh, already informed me, torn up paper only clue.
00:09:36And there's the case number.
00:09:38Congratulations.
00:09:40But Charlie, do you think this paper may have any bearing on the case?
00:09:46Heel mark on face of beautiful lady, very significant.
00:09:52Ah, that nut just stepped on it on its way out.
00:09:55Note carefully.
00:09:58Heel on picture before paper tone.
00:10:01Shoe sign, man no woman, unpleasantly.
00:10:04You're right.
00:10:07It's deliberate mutilation.
00:10:08I tell you, the dame is cold turkey.
00:10:10I saw her at the opera house yesterday and she knows nothing about him.
00:10:13Yes?
00:10:14Madame Lily Rochelle to see you.
00:10:16Have her come in.
00:10:17Yes, sir.
00:10:18Inspector Regan?
00:10:19Yes.
00:10:20I'm Madame Rochelle.
00:10:21This is Monsieur Borelli.
00:10:22How shall he?
00:10:23How do you do?
00:10:24Sergeant Kelly, you know.
00:10:25And Mr. Chan.
00:10:26Mr. Chan?
00:10:27Mr. Chan?
00:10:28You here on the mainland?
00:10:29This is a delightful surprise.
00:10:30Plum tree blossom any time since I hear silver voice of Madame Lily in Honolulu.
00:10:34Thank you.
00:10:35Mr. Chan, I'm in frightful trouble.
00:10:36Someone has threatened my life.
00:10:37They're going to kill me.
00:10:38Wei?
00:10:39Who's Wei?
00:10:40My dear Inspector, Madame Rochelle expects you to find it out.
00:10:42Show him the card you have for.
00:10:43I'm going to kill me.
00:10:44I'm going to kill you.
00:10:45I'm going to kill you.
00:10:46I'm going to kill you.
00:10:47I'm going to kill you.
00:10:48I'm going to kill you.
00:10:49I'm going to kill you.
00:10:50I'm going to kill you.
00:10:51I'm going to kill you.
00:10:52I'm going to kill you.
00:10:53I'm going to kill you.
00:10:54Inspector, Madame Rochelle expects you to find it out.
00:10:56Show him the card you have received.
00:10:57Someone sent me a huge basket of flowers at the theater today.
00:11:00This was attached to it.
00:11:01Won't you sit down, Madame Rochelle?
00:11:03Thank you.
00:11:11Perhaps you're right, Charlie.
00:11:13Our madman does know Madame Rochelle.
00:11:16I told this officer that I do not know your escaped maniac.
00:11:19Madame meets many people, but she usually avoids the mad ones.
00:11:22Do you suspect anyone?
00:11:23No.
00:11:24None in particular.
00:11:25Naturally, a person of my position makes many enemies.
00:11:28There are people who are jealous of me.
00:11:30Others even imagine they're in love with me.
00:11:32And, of course, resent the fact that I do not return their regard.
00:11:36It's the price of popularity.
00:11:38Madame is a great favorite.
00:11:40But there's no one you can actually point to?
00:11:43No.
00:11:44But I am afraid, Mr. Regan.
00:11:47I demand protection for Madame, not only for herself,
00:11:50but for the sake of her public.
00:11:52The voice they love must not be stilled.
00:11:54He will give her regard.
00:11:56Just what is your connection with this case, Mr. Pirelli?
00:11:58Enrico is the baritone of my company,
00:12:00and one of my dearest friends.
00:12:02All right.
00:12:03The opera house will be searched and men stationed at every entrance and exit
00:12:06during the entire performance tonight.
00:12:08Thank you.
00:12:09And, of course, Mr. Chan will be there.
00:12:12Madame's voice, like monastery bell, when ringing must attend.
00:12:17You're so kind.
00:12:19And now I must hurry.
00:12:20I have costumes to be fitted.
00:12:22Conan Enrico.
00:12:24See you later, Mr. Chan.
00:12:26So happy.
00:12:30I don't like that guy Pirelli.
00:12:31I think he uses perfume.
00:12:47Hello?
00:12:48Yes, McGrath?
00:12:49What?
00:12:50My wife and Inspector Regan's office?
00:12:51That's right, Mr. Whitley.
00:12:52She just left here.
00:12:53And with Borelli again.
00:12:54Oh, no.
00:12:55No, no.
00:12:56No, no.
00:12:57No, no.
00:12:58No, no.
00:12:59No, no.
00:13:00No, no.
00:13:01No, no.
00:13:02No, no.
00:13:03No, no.
00:13:04No, no.
00:13:05No, no.
00:13:06No, no.
00:13:07No, no.
00:13:08No, no.
00:13:09No, no.
00:13:10No, no.
00:13:11No, no.
00:13:12No, no.
00:13:13No, no.
00:13:14No, no.
00:13:15And with Borelli again.
00:13:17You want me to go to the opera house?
00:13:18No.
00:13:19It isn't necessary.
00:13:20I have other ideas.
00:13:22One dozen American beauty roses to Velveteer apartments. Miss Lotus Quonk Toy. That will be three dollars.
00:13:49Miss Lotus evidently gilded lily.
00:13:52Pop, you got here just in time. How about a little advance on my allowance? I'm almost broke.
00:13:58Puppy love, very expensive pastime.
00:14:01Oh, gee, Pop. We're leaving tonight. And this is just, well, sort of a farewell present. She's a lovely girl. She's a...
00:14:07Graceful as bamboo shoot. Beautiful as a blossom of water lily. Yeah, that's her. Where did you meet her?
00:14:16Never. But long time ago used same description for honorable mother.
00:14:22Roses in romance like tenor in opera sing most persuasive love song.
00:14:28You like the opera, eh? Such beautiful music. Rigoletto il trovatore, Pagliacci, Cavalleria.
00:14:35Pardon, please. Opera season good for flower business.
00:14:39Sure. Today stands right there. Signor Barelli, the great baritone. He ordered three dozen the American beauties for the signora.
00:14:48Signora? Signora? You mean Madame Lily Rochelle?
00:14:53No, no. He's got wife himself.
00:14:57And no one send flowers for Madame Lily?
00:15:01Today, no. But tomorrow, maybe bushels for her magnificent voice. Oh, when she sings...
00:15:11Thank you. So much.
00:15:13Please, you send cards with flowers?
00:15:17No. Just cancel the whole thing. Hey, Pop!
00:15:24Ah, gee, Pop. Why can't I go to the opera with you?
00:15:27Impossible. You're very busy tonight to finish packing baggage.
00:15:30I did it all an hour ago. They're all ready to be locked.
00:15:33Must get steamship tickets. Here they are.
00:15:38Well, must pay hotel bill. Here's the receipt. Now will you let me go?
00:15:42First, return three dollars for flowers not sent to Miss Kwong Toi.
00:15:48I... I guess I forgot that.
00:15:54Please.
00:15:56Do not need soup and fish. Have other plans for you.
00:15:59I'm sorry, that's all I have.
00:16:00Keep moving, please.
00:16:01Tickets, please. Have your tickets ready, please.
00:16:02Thank you.
00:16:03Tickets, please.
00:16:04I'm sorry, boys, but no reporters allowed in the theater tonight.
00:16:07I know, Pop. We're late.
00:16:08Traffic jam.
00:16:09I tell you, nobody can see Madame Rochelle tonight.
00:16:10Officer, this is a private matter and it's important. Please let us in.
00:16:11Good evening, Madame Borelli.
00:16:12Pop, what time did my husband leave the theater this afternoon?
00:16:15Why, right after dress rehearsal.
00:16:16With Madame Rochelle?
00:16:17No, Madame.
00:16:18He was alone.
00:16:19What's he paying you to leave the theater this afternoon?
00:16:21What time did my husband leave the theater this afternoon?
00:16:23Why, right after dress rehearsal?
00:16:24With Madame Rochelle?
00:16:25No, Madame. He was alone.
00:16:28What's he paying you to leave the theater this afternoon?
00:16:30I'm sorry, Pop.
00:16:32Why, right after dress rehearsal?
00:16:33With Madame Rochelle?
00:16:34With Madame Rochelle?
00:16:35No, Madame. He was alone.
00:16:37What's he paying you to lie?
00:16:39Why, Madame.
00:16:48Who was that firecracker?
00:16:49Anita Borelli, second soprano.
00:16:51The wife of Borelli, our baritone.
00:16:53Kind of jealous, huh?
00:16:54Did you ever see a baritone you could trust?
00:17:02What's the idea? Can't you take no for an answer?
00:17:05But I know she'll see me. I'm her...
00:17:21Please get us some water.
00:17:22Yes, ma'am.
00:17:23You see, we were right. She saw him too.
00:17:24Saw what?
00:17:25A strange man, hiding in here among the costumes.
00:17:28I was working on Madame Lily's dress.
00:17:30I went over in that corner for some lace.
00:17:32There he was standing, staring at me.
00:17:34Did you see him?
00:17:35No, Agnes screamed and I ran to her.
00:17:37No one else was in sight.
00:17:38What did this guy look like?
00:17:39All I could see were his eyes.
00:17:41They were horrible.
00:17:43Take a look around, boys, and this time find him.
00:17:45Did you see anybody?
00:17:46No, I didn't see anybody.
00:17:47Oh, maybe she just imagined it.
00:17:49Oh, no, I didn't. I saw him all right.
00:17:51Now, just leave it to us, sister. We'll take care of everything.
00:18:00Come on, come on, get out now. Get out all of you. The curtain is going up in a few minutes.
00:18:21Now, don't worry, lady. He won't come in here again.
00:18:23Don't leave me alone, officer.
00:18:25Shut up! You've got the whole company upset.
00:18:27You cops would make anybody hysterical.
00:18:30Say, who are you?
00:18:31My name's Arnold. I'm stage manager here, and this opera is going on tonight even if Frankenstein walks in.
00:18:38That's him again!
00:18:48¡Suscríbete al canal!
00:19:18¡Suscríbete al canal!
00:19:48¡Suscríbete al canal!
00:20:18¡Suscríbete al canal!
00:20:20¡Suscríbete al canal!
00:20:22¡Suscríbete al canal!
00:20:24¡Suscríbete al canal!
00:20:26¡Suscríbete al canal!
00:20:28¡Suscríbete al canal!
00:20:30¡Suscríbete al canal!
00:20:32¡Suscríbete al canal!
00:20:34¡Suscríbete al canal!
00:20:36¡Suscríbete al canal!
00:20:38¡Suscríbete al canal!
00:20:40¡Suscríbete al canal!
00:20:42¡Suscríbete al canal!
00:20:44¡Suscríbete al canal!
00:20:46¡Suscríbete al canal!
00:20:48¡Suscríbete al canal!
00:20:50¡Suscríbete al canal!
00:20:52¡Suscríbete al canal!
00:20:54¡Suscríbete al canal!
00:20:56¡Suscríbete al canal!
00:20:58¡Suscríbete al canal!
00:21:00y para que se pueda presentar a la idea.
00:21:03Tal vez para que se quede la misma.
00:21:06De hecho, comenzar a investigar sistematamente.
00:21:09No, no se puede hablar de mi así.
00:21:12Vareli, te he prometido antes de dejar de ir a mi esposa.
00:21:15Es el último momento.
00:21:17Pero tal vez...
00:21:19Ahora, salve.
00:21:22Quiero hablar con vos.
00:21:30¡Suscríbete al canal!
00:22:00¡Suscríbete al canal!
00:22:30La voz de Mephisto viene de las flores.
00:22:39Flores.
00:22:41Eso es.
00:22:43Flores alrededor.
00:22:45El teatro en fuego.
00:22:49Y alguien locked Cravel en su vestimenta.
00:22:55¿Quién?
00:22:57Tú sabes.
00:22:58Me diga.
00:22:59Anita.
00:23:01Anita.
00:23:02You tell them and I will come back.
00:23:03No.
00:23:04No, no.
00:23:05I won't.
00:23:10Anita.
00:23:11Come in.
00:23:13Hello, dear.
00:23:14This is Mr. Chan, the detective.
00:23:16Madame Borin.
00:23:17So pleased.
00:23:18And sorry to disturb.
00:23:20What can I do for you, Mr. Chan?
00:23:23In humble role of investigator,
00:23:25seek information concerning flowers sent you this afternoon by honorable husband.
00:23:32Flowers?
00:23:33You must have felt very guilty about something, Enrico.
00:23:37Don't tell me you have forgotten our wedding anniversary.
00:23:40I had.
00:23:41And I didn't receive the flowers.
00:23:45A bouquet.
00:23:46Like summer tourists on wrong train.
00:23:48Evidently suffer switch in destination.
00:23:51I can imagine what their destination was.
00:23:54You'll have to excuse me, Mr. Chan.
00:23:55I have a very difficult makeup.
00:23:56We'll question you later.
00:23:58What's all this about?
00:23:59The most mysterious.
00:24:00Someone send your bouquet to Madame Lilly with threat of death.
00:24:04With a death threat?
00:24:05You suspect enemy who might do same?
00:24:08No, but whoever it was must have had good reasons.
00:24:11Evidently, you are a bad man.
00:24:13You've got a good man.
00:24:14She's not a bad man.
00:24:15I have a bad man.
00:24:16She's not a bad man.
00:24:17She's not a bad man.
00:24:18She's not a bad man.
00:24:19You're a bad man.
00:24:20I have a bad man.
00:24:21She's not a bad man.
00:24:22I have a bad man.
00:24:23I have a very difficult makeup.
00:24:24We'll question you later.
00:24:25What's all this about?
00:24:26Sobre todo.
00:24:28¡No se te pierdas de amor de Madame Rochelle!
00:24:31Si, no.
00:24:32Lo que ha hecho de todo para que me humilla.
00:24:35Lo cual tiene que hacerse de mi abierta.
00:24:38La empresa sabe de mi abierta y es des态ida.
00:24:41Sorry, disloyalidad de mi abierta.
00:24:45De vez, es un gran provocación de revistas.
00:24:48Pero no lo sentía si es lo que tal.
00:24:51Laslas no estaban en mi habitación.
00:24:53Contradiction, por favor.
00:24:56¿Qué haces?
00:24:59Un ghost de carta de la flor.
00:25:02No sé nada de eso.
00:25:07Tienes que ir, Mr. Chan.
00:25:10Muchas gracias.
00:25:26¿Crees sucede su historia?
00:25:31No, no sé.
00:25:36Until el cartón de la carta se sabe así.
00:25:39I'm afraid it's too charred to tell us much.
00:25:41Llega la ciudad de las flujas.
00:25:44Here, let me de las flujas a ti.
00:25:47Listen, Inspector.
00:25:49I've never been a violent man.
00:25:51If you don't stop this lunk-head couple of yours
00:25:54¡No, no, no, no, no, no, no.
00:26:24Say, is that your kid?
00:26:27Chipped off ancient block.
00:26:31Somebody hiding in opera house.
00:26:33Madame Lily and husband in big fight.
00:26:37Also have fingerprints you ask for.
00:26:42Say, if that's your son, who are all the other Chinese?
00:26:47Honorable fraternity brothers, a worthy son.
00:26:51Incognito.
00:26:54Quick hop on toalleable mountains.
00:26:57Oh, no.
00:26:58Tell with me.
00:26:59Me, it is.
00:27:00I'm sorry.
00:27:01I'm sorry.
00:27:03Come on, Thomas.
00:27:03Look.
00:27:05unconsciously pets each other.
00:27:07Have fun.
00:27:08Come on.
00:27:09It is not great.
00:27:10Come on.
00:27:11Have fun.
00:27:12Do you want to be successful?
00:27:13I will go easy.
00:27:14Is that your son could be five up?
00:27:16Look.
00:27:17Let's go.
00:27:18¡Vamos!
00:27:48Sir.
00:27:58Hydrochloric acid, please.
00:28:02And here's a ferrocyonide potassium.
00:28:06Manage of two acids. Reproduce lost writing on a burnt card, if lucky.
00:28:12¿Puedo decir una nota de los dedos?
00:28:16¡Claro!
00:28:18Este es el Mr. Whitley.
00:28:20Creo que está preguntando dónde se ha perdido.
00:28:24Me he quedado con esto de este vestido de Arnold.
00:28:28Este es la señora Borrelli.
00:28:30¿Qué es lo que pasa, papá? ¿Lose algo?
00:28:32No, todavía.
00:28:34Pero los dedos de los dedos son los primeros son más alarmantes.
00:28:42No, no, no, no, no, no, no, no, no.
00:29:12No, no, no, no, no.
00:29:13You can't prove anything with your cheap insinuations and lying detectives.
00:29:16If you name Enrico in a divorce action, he'll deny everything and so shall I.
00:29:20Varelli will deny nothing when I get through with him tonight.
00:29:24Tonight? What are you going to do?
00:29:28Madame Rochelle, two minutes, please.
00:29:29All right, I must go.
00:29:31I'll wait.
00:29:42Lili, ¿qué es lo que está pasando?
00:29:50Debe estar en la escala.
00:29:51Debo hablar con ustedes.
00:29:52¿Quieres?
00:29:53Madame Rochelle, por el sake de Puccini, Verdi, Wagner y me,
00:30:00¡get en la escala!
00:30:02¡Sé un saludo después de la primera acta!
00:30:12¡Sé un saludo después de la segunda acta!
00:30:42¡Sé un saludo después de la primera acta!
00:31:12¡Sé un saludo después de la segunda acta!
00:31:42El corazón de mi amor
00:31:50El corazón de mi amor
00:31:56El corazón de mi amor
00:32:02Esta es la gran escena de Mephisto.
00:32:08He joins her in a duet.
00:32:10She refuses his love and he stabs her.
00:32:38El corazón de mi amor
00:32:44El corazón de mi amor
00:32:48El corazón de mi amor
00:32:52El corazón de mi amor
00:32:56El corazón de mi amor
00:32:58El corazón de mi amor
00:33:00Es strange.
00:33:02No he escuché esa voz en Borrelli.
00:33:04Es genial. ¿Eh, Charlie?
00:33:22El corazón de mi amor
00:33:24El corazón de mi amor
00:33:26El corazón de mi amor
00:33:28El corazón de mi amor
00:33:30El corazón de mi amor
00:33:32El corazón de mi amor
00:33:34El corazón de mi amor
00:33:36El corazón de mi amor
00:33:38El corazón de mi amor
00:33:40El corazón de mi amor
00:33:42El corazón de mi amor
00:33:44El corazón de mi amor
00:33:46El corazón de mi amor
00:33:48En Lorrelli
00:33:50El corazón de mi amor
00:33:52El corazón de mi amor
00:33:54¡Suscríbete al canal!
00:34:24¡Suscríbete al canal!
00:34:54¡Suscríbete al canal!
00:34:56¡Suscríbete al canal!
00:34:58¡Suscríbete al canal!
00:35:00¡Suscríbete al canal!
00:35:02¡Suscríbete al canal!
00:35:04¡Hey, you!
00:35:05¡Come on, boys!
00:35:06¡Ap!
00:35:10¡Ap!
00:35:14¡Ap!
00:35:16¡Ap!
00:35:21¡Ap!
00:35:24¡Ap!
00:35:25¡R!
00:35:27Lock the door.
00:35:28Yes. Wait a minute.
00:35:30I got a personal grudge against that canary.
00:35:40Pirelli.
00:35:46Estabbed through heart.
00:35:47I just saw him come in here.
00:35:49Yes, he must have bumped himself off.
00:35:51Contradiction please.
00:35:52Observe.
00:35:54Implement of death missing.
00:35:57Las manos de las manos no pueden esconderar.
00:35:59Sí.
00:36:00Alguien debería estar esperando aquí para matar a él.
00:36:02Quiero que sea, funcionó muy rápido.
00:36:04Él tenía que hacer el suicidio y escapar
00:36:06mientras que estaba en la puerta.
00:36:08Un momento.
00:36:09Observen el wound, por favor.
00:36:13Está empezando a secar.
00:36:15Coagulado de la sangre.
00:36:16El suicidio fue cometido hace un tiempo.
00:36:19Oh, sí?
00:36:20Entonces, supongo que era el espíritu que me mató.
00:36:22Tal vez que me mató el espíritu,
00:36:24que me mató la cabeza.
00:36:26Ah, you're just guessing, brother.
00:36:30This window hasn't been open so long and the bolt's rusty.
00:36:33And that door was locked on the inside.
00:36:35If he didn't shock me and then run in here,
00:36:37where is the guy who did?
00:36:39Perhaps murderer knows other way of departing from room.
00:36:43Inspector Regan, there's a trap door up here.
00:36:47I'll handle this.
00:36:49Go up there with him and take a look around.
00:36:56Healy, get the coroner down here and tell the boys to keep their eyes open.
00:36:59Yes, sir.
00:37:03All right, folks, back up.
00:37:04Out of the way.
00:37:05Wait a minute, lady.
00:37:06You can't go in there.
00:37:07Let me in.
00:37:08Let me in to him.
00:37:09He's my husband.
00:37:11Oh, Enrico.
00:37:13Oh.
00:37:22Find anything, Kelly?
00:37:24Nothing yet, Chief.
00:37:25There ain't nobody up here.
00:37:26Well, I'm going to find out if there is.
00:37:27No Chinese cop's going to show me up.
00:37:28Take a look down that other end.
00:37:31Come out of there?
00:37:32Come out of there.
00:37:34No Chinese cop's going to show me up.
00:37:36There ain't nobody up here.
00:37:38Well, I'm going to find out if there is.
00:37:39No Chinese cop's going to show me up.
00:37:41Take a look down that other end.
00:37:42¡Suscríbete al canal!
00:38:12¡Suscríbete al canal!
00:38:42¡Suscríbete al canal!
00:38:49¡Gracias 저기!
00:38:50¡Suscríbete al canal!
00:38:59¡Es una mentira!
00:39:00¡Vamos aquí y encontré a la señora con sangre en sus manos!
00:39:05También hay una dame con él.
00:39:06Debería estar en algún lugar.
00:39:08¡Vale a la otra!
00:39:09¡Vale a la otra, Dogan!
00:39:16Establa.
00:39:17Justo como Borelli.
00:39:18Sí, pero Borelli murió primero.
00:39:21La sangre aquí es aún fresca.
00:39:23Debería haber llegado aquí cuando estaba trabajando para la doctora.
00:39:25¿Vale a la doctora?
00:39:27¿Vale a la señora Lili?
00:39:29¿Por qué no?
00:39:30Ella era para la protección de la policía, ¿verdad?
00:39:32¡Es tu violencia que es responsable de mi muerte de mi mujer!
00:39:35¡Eso es suficiente, Whitley!
00:39:36Por favor.
00:39:37Mr. Whitley está correcto.
00:39:39Humilidad solo defensa contra el maldito.
00:39:44Aquí está la mano.
00:39:46¡He debe de ponerlo ahí!
00:39:47¡No había visto esa mano antes!
00:39:51¿Quién cometió el crimen?
00:39:53Debería estar seguro de un momento.
00:39:54¡No lo he pensado!
00:39:55¿You está bien?
00:39:56Deberías cuantos cuando perces.
00:39:57¡Eh, a la sangre!
00:39:58¡Vale a la sangre!
00:39:59¡Vale a la sangre de los imágenes de los primeros!
00:40:00¡Vale, todo lo que, ¡vale!
00:40:02¡Vale a la segunda acta de todos!
00:40:03¡Vale, no, bien!
00:40:04¡Vale a la preparation!
00:40:05¡Vale a todos!
00:40:06¿Vale a la investigación preparada?
00:40:08¡ inv讚as!
00:40:09¡No vamos a ir, Arron!
00:40:10¡No en una casa del maldito!
00:40:12¡Oh, la gente se ha sido mur hvaden!
00:40:13¡Quien!
00:40:14¡Eso se puede estar en la sala!
00:40:15¡Eso es tarda!
00:40:16¡No se vea!
00:40:17¿Por qué es la noche de la noche?
00:40:19¡No hay que irse a la noche!
00:40:21¡No hay que irse a la noche de la noche!
00:40:24¡Vamos!
00:40:40Me conocí muy bien. Estaba con ella esta noche.
00:40:42¿Qué hora, por favor?
00:40:44No, no.
00:40:46No, no, no.
00:40:48¿Cómo sabía que ella?
00:40:50No, no.
00:40:52¿Por qué?
00:40:53¿Por qué le le hacía?
00:40:55¿Por qué le le hacía?
00:40:56¿Por qué le leía a la noche?
00:40:59¡No!
00:41:00¿Por qué la gente estaba haciendo en mi casa?
00:41:03Me decía que me había perdido una tienda de jewellery de la habitación.
00:41:06Cuéntanos sobre todo lo que sucedió cuando le leía a la habitación.
00:41:11I laid her down on the chaise lawn.
00:41:14Then I sent Madame Borelli to get some smelling salts.
00:41:17While you remain alone with Madame Lilly?
00:41:20Yes, but I immediately went out to call a doctor.
00:41:26So sorry to trouble.
00:41:28That's quite all right, Mr. Chan.
00:41:30When you returned to dressing room, what happened?
00:41:34I didn't return.
00:41:36On my way back, I...
00:41:38I was told my husband was dead.
00:41:41No longer necessary to remain.
00:41:45Thank you so much.
00:41:48What's the use of all this questioning?
00:41:50Here's a man you want. I demand his arrest.
00:41:52Please.
00:41:54Voice from back seat.
00:41:55Sometime very disconcerting to driver.
00:42:03Kindly explain blood on hands once more.
00:42:06When I came into the room, Madame Lilly was halfway off the couch.
00:42:08I started to lift her up, and then I realized that she...
00:42:10Do you expect us to believe that?
00:42:12One moment.
00:42:13Explain purpose of visit, please.
00:42:16I'll explain that.
00:42:20I'm Lily Rochelle's daughter.
00:42:23That's the most ridiculous yarn I've ever heard.
00:42:26My wife had no daughter.
00:42:27She's never even been married before.
00:42:29That isn't true.
00:42:29My mother never acknowledged me openly.
00:42:33Ever since I can remember, I've been kept hidden away in boarding school.
00:42:36Even when I grew up, it was always the same.
00:42:39She was afraid a grown daughter would hurt her career.
00:42:41I tried to be close to her, but she wouldn't let me.
00:42:44And now it's too late.
00:42:45I still have not explained urgence of visit here tonight, Mr. Tanders.
00:42:56We wanted Madame Lilly's permission to get married because Kitty is underage.
00:42:59You asked consent before?
00:43:01Several times, but she always refused because she knew that our marriage would expose her secret.
00:43:05She even threatened to send Kitty away where I could never see her again.
00:43:08That was cause of quarrel?
00:43:09Well, she had no right to spoil Kitty's life.
00:43:12And so tonight we came here to ask her permission for the last time.
00:43:14And when she refused, you killed her?
00:43:15I did not.
00:43:16Please, spare feelings of bereaved young lady.
00:43:20I'm going to hold you both for further investigation.
00:43:25One more question.
00:43:27Can tell present whereabouts of male parent?
00:43:31My father died in a theater fire when I was about four years old.
00:43:35He was an opera singer.
00:43:36My father died in a theater fire when I was about four years old.
00:44:06My father died in a theater fire when I was about four years old.
00:44:36My mother died in a theater fire on his own.
00:44:38My mother died in a theater fire when I was about four years old.
00:44:42The fact is that she was an opera singer.
00:44:43My father died in a theater fire when I was about five years old.
00:44:46The fact is that she she killed guard Michael and각ulch causa of this sort of anger through her gewe픽?
00:44:58And she was a sequence of rightly and is at an effect statement now.
00:45:02You stand around that stage
00:45:10like a herd of seals
00:45:12waiting for Macker.
00:45:16All right.
00:45:17Now you do it.
00:45:19There.
00:45:20Go.
00:45:32All right.
00:46:02All right.
00:46:32All right.
00:47:02All right.
00:47:06Pop, this proves that whoever took
00:47:08Borelli's place committed the murder.
00:47:10Quite possible.
00:47:12Gee, what about Mr. Whitley
00:47:13and Madam Borelli?
00:47:15They had reason enough to do it.
00:47:17Also possible.
00:47:17And that fellow childers.
00:47:19Please.
00:47:20Man who ride on merry-go-round often enough
00:47:22finally catch brass ring.
00:47:25What's your idea, Pop?
00:47:27I have here a very interesting newspaper item
00:47:29relating death of Madam Lillard's first husband,
00:47:33Gravel,
00:47:34in Opera House Fire in Chicago.
00:47:37Gee, Pop,
00:47:38if there was only a picture of him.
00:47:42Get Los Angeles bulletin on phone.
00:47:47Information, please.
00:47:48We'll see you.
00:47:49Thank you.
00:47:49Thanks.
00:48:01Thank you.
00:48:03Hola, Hudson.
00:48:30Smitty, Chicago Sun speaking.
00:48:33The good picture is coming through.
00:48:35Okay, Smitty, we're standing by.
00:48:39It'll only be a minute now, Mr. Chan, while they regulate the speed,
00:48:42so that the roller holding the picture in Chicago
00:48:44is revolving at the same rate as the roller holding the negative in this cylinder.
00:48:49Here it comes.
00:48:50The two machines are now locked together as one.
00:48:53A small light is traveling over the picture in Chicago.
00:48:56It's an electric eye that tells this electric eye over the wire what it sees.
00:49:02Then this electric eye prints on the negative in this cylinder in black and white what it sees in Chicago.
00:49:11I'll have it developed immediately, Mr. Chan.
00:49:13Many things now clear.
00:49:22Thank you so much.
00:49:24That's him.
00:49:26You sure?
00:49:27I'll never forget those eyes.
00:49:29Who is he?
00:49:30For present, Mr. X.
00:49:40The offer is over.
00:49:41Must insist.
00:49:42No mention of picture to anyone.
00:49:44Not me.
00:49:45Here, Agnes.
00:49:46Take this stuff.
00:49:47I'm not glad to get out of here.
00:49:48You and me both.
00:49:49I remember that there's a night in my life.
00:49:52Now must do it fast.
00:49:53We have only 30 short minutes to trap murder.
00:49:56Why 30 minutes?
00:49:58Must catch boat for Honolulu.
00:50:03Please stop worrying, dear.
00:50:05I can't help it, Phil.
00:50:06I can't help feeling that our coming here tonight had something to do with it.
00:50:10How could it?
00:50:11I don't know.
00:50:13But that detective sensed it, too.
00:50:15That's why he accused you.
00:50:20I'm not worried, honey.
00:50:21Everything's going to be all right.
00:50:23And young lady, I'm taking on a new job today.
00:50:26Trying to make you happy.
00:50:28That's better.
00:50:33You're going to keep on smiling, too.
00:50:35I'm going to make you forget there ever was such a thing as trouble.
00:50:43Inspector Regan wants to see you, Charlie.
00:50:45Phil!
00:50:47That won't be long, honey.
00:50:58What do you want?
00:51:13I'm not going to hurt you.
00:51:17You are Kitty Gravel.
00:51:21I knew you a long time ago.
00:51:24Please don't come any closer.
00:51:26You're afraid of me, aren't you?
00:51:29Don't be.
00:51:31I want you to know me.
00:51:32I...
00:51:38Sit down.
00:51:40Please.
00:51:46Now listen.
00:51:56Don't you remember this?
00:52:08Don't you remember this?
00:52:26It means nothing to you?
00:52:27Wait.
00:52:28Try to remember.
00:52:30There was a house and a garden.
00:52:32And a little girl who'd run to the window to listen when I played to her.
00:52:36And when I'd sing, she'd finger arms around my neck and put her head on my shoulder.
00:52:38And when I'd sing, she'd finger arms around my neck and put her head on my shoulder.
00:52:43Thank you.
00:52:44Thank you.
00:52:45Don't you remember this?
00:52:47I am so sorry.
00:52:48Don't you remember this?
00:52:49Well, come on.
00:52:50I'm sorry.
00:52:51It's not too bad.
00:52:52It means nothing to you.
00:52:53Don't you remember this?
00:52:54It means nothing to you?
00:52:55Wait.
00:52:56Try to remember.
00:52:58There was a house and a garden.
00:53:00Gracias.
00:53:30If you touch her, I'll kill you.
00:53:43Pardon intrusion, please.
00:53:45Had no intention of harming beautiful young lady.
00:53:48Why did you come here?
00:53:50Merely wished to make telephone call.
00:53:53Excuse, please.
00:54:01You're lying.
00:54:03You're one of the police who are after me tonight.
00:54:06You wanted to trap me,
00:54:08but I was too clever for you.
00:54:10You thought Gravel was a fool.
00:54:13That's what Lily and Borelli thought
00:54:15when they locked me in a burning theater.
00:54:17But I got out,
00:54:18and now they're dead.
00:54:23You'll never put me behind those walls again.
00:54:27Remember presents of honorable daughter.
00:54:34She didn't know me.
00:54:35She's afraid of me.
00:54:37She thinks I'm mad.
00:54:41Everybody thinks I'm mad!
00:54:43A very old Chinese wise man once say,
00:54:46Madness, twin brother of genius,
00:54:49because each living world created by own ego.
00:54:54One,
00:54:55sometimes mistaken for other.
00:54:58Your world, music.
00:55:03Yes.
00:55:05I live in a world of music.
00:55:07Symphonies, operas, great audiences.
00:55:10I sing to their applause.
00:55:12Much applause tonight after beautiful aria.
00:55:15Always.
00:55:16Would grant privilege of hearing magnificent voice again?
00:55:24You mean tonight?
00:55:26Here?
00:55:27Yes.
00:55:28We'll have stage ready and orchestra waiting.
00:55:36Yes.
00:55:38I'll sing.
00:55:39You don't expect everyone to stick around here
00:55:41while you turn a nut loose on that stage, do you?
00:55:43What do we tell all these people?
00:55:45Very simple.
00:55:46Say Mr. Arnold trying out a new baritone.
00:55:48But Charlie, you can't do that.
00:55:50The man is mad.
00:55:51He's a homicidal maniac.
00:55:52Therefore,
00:55:53you must use utmost precaution.
00:55:55The whole plan will make murderer reveal self.
00:55:58Reveal self?
00:55:59Who do you think's been doing all the killing around here?
00:56:01And now you want him to sing again.
00:56:04Old Chinese proverbs say,
00:56:05sing-jong-kong-tu.
00:56:08Luan-tsuan-hu-tu.
00:56:11Oh.
00:56:12Yeah?
00:56:13Hmm.
00:56:15Excuse, please.
00:56:17Why, yes.
00:56:18I can sing Lily's role,
00:56:20but under the circumstances, I...
00:56:24So sorry.
00:56:25But hoped for assistance to apprehend murderer of husband.
00:56:29I'll do anything you ask, Mr. Chan.
00:56:33But I won't be able to wear Lily's costume.
00:56:36Own costume sufficient?
00:56:38Thank you so much.
00:56:39What's the idea of making us get into costume again?
00:56:42Agnes.
00:56:43Agnes.
00:56:44Agnes.
00:56:45Give me Madame Morelli's costume right away.
00:56:46Are we ever going home?
00:56:47Is this gonna keep up all night?
00:56:49Here.
00:56:50Look, where's the belt?
00:56:51If it isn't there, I don't know where it is.
00:56:53Here.
00:56:54Take this.
00:56:55It'll do.
00:56:56Oh, hurry up.
00:56:57Let's get it over with.
00:56:58This was the place you occupied when Madame Lily was on stage?
00:57:01Yes.
00:57:02Pleased to remain here while Madame Morelli sings.
00:57:06Very well.
00:57:07Thank you.
00:57:14If that Chinese dick knows where he is,
00:57:16why don't we grab him and haul him down the headquarters?
00:57:18Unwise officer who eats apple not yet ripe,
00:57:21get official tummy aches.
00:57:23The commissioner will certainly make the fur fly if anything goes wrong.
00:57:26And bouquets fly if everything goes right.
00:57:29Well, I'm all ready, Mr. Chan.
00:57:30Shall we go on?
00:57:31Please.
00:57:33Keep the stage lights full on.
00:57:35We're taking no chances.
00:57:36Yes, sir.
00:57:37Yes, sir.
00:57:55If he makes one miss move...
00:57:57Dimbo's rights, you fool.
00:58:14Seem is played in shadows.
00:58:27Dock, dock.
00:58:57No, no, no.
00:59:27Solo con te pienso mi accorre a nora.
00:59:37Todo el truco me escoventa.
00:59:47No, no, no, no, no, no, no, no, no, no, no, no.
00:59:57No, no, no, no, no.
01:00:07Te honor, in bancorgiata vai.
01:00:13M'u'at teso, tanti anni ed or venuto son qui
01:00:19Perfarte, esposa y donar mi amor
01:00:49I knew he was hiding in the theater, he came to my dressing room before the opera
01:01:05But I, I didn't dare warn you, because he said he'd kill me if I told
01:01:10Then when I, I was singing Lily's aria, and he reached for the knife, I, I couldn't stand it
01:01:17Egg Fu Yum, the guy that pulls rabbits out the hat, sending a woman out there to let her not stick a knife in her
01:01:23Well, Chief, that about closes the case
01:01:25Contradiction, please, case still wide open, like swinging gate
01:01:30What do you mean?
01:01:32Gravel, not murderer
01:01:33Excuse, please, we'll demonstrate hypothesis
01:01:37What?
01:01:39Word of Greek derivation, hypo meaning
01:01:42Hypo, I get it, he's hitting the pipe again
01:01:46Go on, Charlie
01:01:47Knife worn by Gravel
01:01:51Observe, coating of oil
01:01:55Used by property department to preserve blade from rust still intact
01:02:00So what?
01:02:02Prove most elemental fact in deduction
01:02:04Could not have been used for murder
01:02:06Of course he didn't use his own knife, he used Borelli's
01:02:09Beg to differ
01:02:11Knife used to murder Borelli
01:02:14Later used to kill Madam Lily
01:02:17If Gravel guilty, must have had both knives on person while singing aria
01:02:23Previous examination of costume
01:02:26Disclosed no tell-tale bloodstains
01:02:28Also, madmen would not use Borelli's knife
01:02:33Having one in his own scabbard
01:02:35He was crazy, wasn't he?
01:02:37But method devised by real murderer
01:02:39Born in rational mind
01:02:42Used presence of maniac in theater
01:02:45As perfect alibi
01:02:47To cover own guilt
01:02:49Concealed murder knife
01:02:51After first crime
01:02:53Fearing fingerprints
01:02:54Later
01:02:55Frightened by immediate arrival of police
01:02:59After second crime
01:03:00Was forced to hide same
01:03:02In bouquet of flowers
01:03:04Unfortunately
01:03:05Fingerprints obliterated by Mr. Whitley
01:03:08Do you mean to insinuate that?
01:03:10Pardon, please
01:03:11Have special insinuation
01:03:13For your honorable attention
01:03:16Can explain presence
01:03:18Of your fingerprints
01:03:20On ghost of card from flower shop
01:03:22Found in Madam Borelli's dressing room?
01:03:25My fingerprints?
01:03:26That's impossible
01:03:26Fact most definitely established
01:03:28By comparison with those found on your cigarette case
01:03:32What about it, Whitley?
01:03:33I can explain that, Inspector
01:03:35I knew Borelli had sent flowers to the theater this afternoon
01:03:37I suspected they were for my wife
01:03:39I came here to see the card
01:03:41Then sent same flowers to wife with threat of death?
01:03:45Yes
01:03:45Well, I swear I never intended
01:03:47I only wanted to frighten her away from Borelli
01:03:49You know Gravel?
01:03:51I never heard of him
01:03:52You state complete truth about position and wings
01:03:56During entire aria?
01:03:58Yes, and I can prove it
01:03:59Madam Borelli saw me standing there
01:04:01Will corroborate, please?
01:04:03Why, I... I don't know
01:04:05As I came off the stage
01:04:07I was so terrified at the thought of Gravel being loose in the theater
01:04:10I hurried to my dressing room and locked myself in
01:04:13But you must have seen me
01:04:14You were standing in the wings only a few feet away from me
01:04:17Why, yes
01:04:18I saw you there, Madam Borelli
01:04:19You left just after Mephisto began his aria
01:04:23Thank you so much
01:04:24Fact that Madam Borelli in wings during aria
01:04:29Final link in chain of evidence
01:04:32You are murderous
01:04:36Why, I...
01:04:37You were only one who knew
01:04:39Gravel planned to sing Mephisto roll tonight
01:04:42Later, standing in wings
01:04:44Recognized voice, not that of husband
01:04:47Instinctive curiosity forced you to husband's dressing room to investigate
01:04:52You discover him unconscious
01:04:54So avail self of perfect opportunity
01:04:57To avenge intrigue
01:04:59Which caused you so much humiliation
01:05:01Is this some ridiculous attempt to save your face, Mr. Chan?
01:05:05Humble countenance
01:05:06Merely facing facts
01:05:08That same belt you wore with costume earlier tonight
01:05:12Why, no
01:05:13The wardrobe department sent me this
01:05:16Because the clasp on the other was broken
01:05:18Strange
01:05:19Have original belt here
01:05:22With clasp in most perfect condition
01:05:25Where did you get that?
01:05:26Found hidden in cushion of shades long
01:05:28In your dressing room
01:05:30Observe
01:05:33Stain of blood
01:05:34On the inside lining
01:05:36Prove definitely
01:05:39You concealed knife
01:05:41On person
01:05:42After murder of husband
01:05:44You are right
01:05:53And I used it on Lily
01:05:55When I came back with the smelling salts
01:05:57And found her alone
01:05:58You knew what was going on
01:06:03But you weren't man enough to do anything about it
01:06:06That's all
01:06:10I'm ready, Inspector
01:06:12May I see you, Mr. Regan?
01:06:15Certainly
01:06:16That fella got a lucky break, Inspector
01:06:24The bullet never touched the brain
01:06:26In fact, it may relieve the condition
01:06:28That's been causing amnesia
01:06:29You think Gravel
01:06:31Have happy chance of recovery?
01:06:33An even chance
01:06:34If we can keep him quiet
01:06:36Till we get him to the hospital
01:06:37He's very restless
01:06:38Keeps repeating the name, uh, Kitty
01:06:40Excuse me
01:06:42Excuse me
01:06:44Request most charitable act
01:06:48Innocent man
01:06:50Unfortunately wounded by impetuous marksmen
01:06:54Call for daughter not seen for many years
01:06:57Would please take place a missing loved one
01:07:00For a small moment
01:07:02Perhaps save life
01:07:04Please
01:07:08Much better if relationship not known
01:07:10Until recovery is certain
01:07:14Well, Charlie, I...
01:07:16All I can say is that you have certainly...
01:07:18Very lucky in finding a solution
01:07:20Proving, as said before
01:07:22Luck, happy combination
01:07:24Of foolish accidents
01:07:26You're all right
01:07:27Just like chop suey
01:07:28A mystery, but a swell dish
01:07:29Thank you so much
01:07:30By the way, Charlie
01:07:31I didn't quite catch that Chinese lingo
01:07:32You sprung on us
01:07:33Just before you asked Madame Bareilly to sing
01:07:34Ancient proverb
01:07:35Meaning, when fear attacked brain
01:07:37Tongue waved distress signal
01:07:38I get it
01:07:39You made her sing with Carvel
01:07:40Just to scare her into talking
01:07:41Yes
01:07:42Yes
01:07:43I can say
01:07:44I can say
01:07:45I can say
01:07:46I can say
01:07:47You're all right
01:07:48Just like chop suey
01:07:49A mystery, but a swell dish
01:07:50Thank you so much
01:07:51By the way, Charlie
01:07:52I didn't quite catch that Chinese lingo
01:07:53You sprung on us
01:07:54Just before you asked Madame Bareilly to sing
01:07:56Ancient proverb
01:07:57Meaning
01:07:58When fear attacked brain
01:07:59Tongue waved distress signal
01:08:01I get it
01:08:02You made her sing with Carvel
01:08:03Just to scare her into talking
01:08:04Yes
01:08:05You catch
01:08:06Quickly
01:08:07Sure
01:08:10Hey, Pop
01:08:11Pop
01:08:12I found Madame Bareilly's smelling sauce
01:08:13In Madame Lily's room
01:08:14This proves that she
01:08:15Excellent clue
01:08:16But like last droves of summer
01:08:18Bloom too late
01:08:21Also fear too late for boat to Honolulu
01:08:23That if we can help it
01:08:24I'll hold that boat
01:08:25If I have to lock the captain on his own brig
01:08:34I knew we were on the right track, Pop
01:08:38The first time I saw Madame Bareilly
01:08:40I was sure she was guilty
01:08:41Because
01:08:42Case now closed
01:08:45I'll close
01:08:46I'll close
01:09:15I'll close
01:09:16I'll close
01:09:17To a close
01:09:18I'll close
01:09:19I need to see
01:09:20To a metallic
01:09:22So now
01:09:23Pre-to-eye
01:09:24Come with the truck
01:09:25To the back
01:09:26you can do
01:09:27You can do
01:09:28You can put the ning
01:09:29You can do
01:09:29I'll close
01:09:30You can cut the
01:09:31I'll close
01:09:33You can cut the
01:09:36In the middle
01:09:37In the middle
01:09:39You can cut the
01:09:40A bit
01:09:40In the middle
01:09:41Gracias por ver el video.
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