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01:43May I have a copy of Playboy?
01:45Thank you, Playboy.
01:58They expect to sell 500,000 copies.
02:01It's only went all out on this one, huh?
02:03Even their columns are similar to ours.
02:05They've got cars, cinema, theater, and a column dedicated to chess.
02:08Crazy.
02:09Hey, who knows how many chess aficionados buy Playboy?
02:12And the lighting guys?
02:13It looks like the Oscars.
02:14And the graphic design is modern.
02:16It's impeccable.
02:17Actually, to me, it comes across oafish.
02:19Exactly.
02:19It won't last.
02:20Furthermore, Playboy is getting released after our magazine.
02:23It seems like they're just copying us, but oafish, like Chartreau says.
02:26And we're building a broader pool of new readers that Playboy has never even thought about.
02:31Have you seen all the letters we've gotten?
02:32The Kazati story?
02:33No, the Erotic Bride article.
02:35There are hundreds, and it's women writing.
02:37We're bringing them over to our side.
02:39But the ladies aren't the ones out buying it.
02:41They just read their husbands.
02:43But they build loyalty.
02:44And men won't have to bury all their playmen under Corriere della Sera.
02:47Well, the front page says that it's a monthly magazine for men.
02:50That comes off.
02:51That's easily removed.
02:52But what are we going to come up with in the next week that can compete?
02:58We'll be stripping Emma Bellini.
03:00What?
03:02She's the face kids see before Mom talks them in at night.
03:05She's pretty, but also chaste.
03:07She hides her femininity to be reassuring to women.
03:10She's perfect always.
03:12But then again, what happens when the cameras all stop rolling?
03:15Is she the same?
03:17Different?
03:18How does she dress?
03:20And how does she undress as well?
03:22You'll bring Rye down on us all.
03:23But not if we can get Emma under contract.
03:37You can't split now.
03:38You made a commitment.
03:39You committed to it?
03:40Yes, absolutely.
03:41If it wasn't for me,
03:42Eteres folks would never have let him get married to a girl like you.
03:45Why?
03:45What are girls like me like?
03:46Whores.
03:47Whoa!
03:48She's still your sister.
03:49But he's just saying what everybody's thinking, right?
03:57If you leave this house now,
03:59you'll never be welcome home again.
04:28Hey.
04:31I thought you'd never make it.
04:35I hope I'm going to regret doing this later.
04:37What's there to regret, huh?
04:39I wish I had your courage.
04:42It isn't courage, really.
04:43I'm getting kicked out.
04:44That's all it is.
04:46Don't tell me that now you're working in the city.
04:49That I'm going to just get left here.
04:51No.
04:53Not at all.
04:54No.
04:58It's your mother.
05:10So, what is it?
05:12I just came to give this to you.
05:15No.
05:17Thank you, but don't worry.
05:19I'm okay.
05:20I have a job.
05:21Everything will be fine.
05:22So, you hold on to this.
05:24You need the money.
05:25Okay, Mom?
05:46It's tricky.
05:47Bellini doesn't even have an agent.
05:49Believe it or not, her contracts go through her husband's hands.
05:51Have you tried the phone book?
05:53No, her number won't be there.
05:55She's a celebrity.
05:56Miss Bellini's private line isn't there, no.
05:58All right.
05:59How stupid, huh?
06:01But no, hang on.
06:01Maybe we just need to call Rye's main desk, and then they can put us through to her.
06:05Don't worry.
06:06I'll manage it.
06:08Ah, you're here.
06:10How's the boarding house we found you?
06:12Is it suitable?
06:13Have you been settling in all right?
06:14Well, it's better than home was, yeah.
06:16Let me introduce Lella.
06:17She oversaw the start of Playman.
06:19Elsa is starting work here today.
06:21For now, show her how things work here, but we'll pick out more specific tasks.
06:24I'll leave her to you for now.
06:27But welcome.
06:30Tell me about your skill sets.
06:32Stenography?
06:33What?
06:34This'll be fun.
06:36Miss, tell me, can you use a typewriter?
06:38No, but it won't be hard.
06:40Come on.
06:41You must know how to tidy up, right?
06:42Yes, I know how to do that.
06:47Playboy's in the next millennium.
06:49Meanwhile, we may be buried long before the holidays.
06:51Yeah, but ideas don't cost anything.
06:54Getting SeƱorina Buena Sela to model for us is such a great idea.
06:57But that's still not certain.
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 perhaps if you could mention that I'm happy to do it to the boss.
07:17Come on.
07:17Even if Bellini does agree, then she'll want a photographer she can trust.
07:22Certainly not just a novice type guy.
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.
07:31So I just spoke to Rye's front desk, and we have a type of appointment with Bellini tomorrow.
07:35A type of?
07:36It's fine.
07:36We're going to be at Rye.
07:45Are you stupid?
07:47Hey, no worries.
07:48You didn't notice.
07:49We don't mix our private life with our work.
07:53Fine.
08:12Ah, shit.
08:13Ah, shit.
08:24Climb 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, it'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 my chair.
08:41See you.
09:00See you.
09:01Not bad.
09:02I mean, you're meticulous.
09:07But work's over, or are you sleeping here now?
09:09No, I'll head up soon enough.
09:11Flick off the lights.
09:37Elsa, just wait.
09:38What do you want?
09:39There's no more for us to say to each other.
09:41No, you can still reconsider.
09:42I care about you.
09:44We'll buy a nice apartment.
09:45A real nice car.
09:47You don't want to work if we're together.
09:52The ring's pretty, huh?
09:54Paid quite a lot for it.
09:56And now it's yours.
10:00Just 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.
10:18I'm the man who truly loves you.
10:26I'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, Kiara didn't want her dinner.
10:37Huh?
10:37Listen, watching your children is no trouble.
10:39I just...
10:40I'm just not able to stay until nine at night.
10:42Of course.
10:43I'm sorry.
10:44I'm sorry.
10:44Oh, no.
10:45You're totally right.
10:47Thanks again.
10:48Good night.
10:48Good night, ma'am.
10:56Hey, sweetie.
10:59How 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 work 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 goodnight kiss.
11:24Hmm?
11:25Okay?
11:34I 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, hun.
11:41All right.
11:43So you don't want to go to Vietnam.
11:49Those guns ain't no fun.
11:52To kill is no thrill.
11:56No one lands to destroy.
11:59You'll go out to beat them.
12:10Lorenzo!
12:11Lorenzo!
12:18Who's that man you're kissing?
12:21That's John Luca.
12:22He studies at Sapienza and is a member of Plutario Paria.
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?
12:34I want a different kind of relationship.
12:37Different?
12:37How so?
12:39Something free.
12:50Can you take me up at least?
12:52I'll try, honey.
12:53I promise.
12:55Morning, Mrs. Bouswell.
12:57Morning.
12:59Please.
13:01How beautiful.
13:02Are those for us?
13:03Your husband has planned festivities for today.
13:06Mama, let's go, please.
13:07I'll go right to school tomorrow.
13:09Please, please, let's go.
13:10You're going to school.
13:12Tell my husband not to hold his breath.
13:14Yes, I'll tell him that.
13:15Bye.
13:16Goodbye.
13:22The 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 Castellano.
13:39Listen, I was thinking, if we can get Bellini to agree to do this, maybe we offer the shoot to
13:44Poggi.
13:45Oh.
13:45He's talented, right?
13:47Mm-hmm.
13:47And besides, we could always pay him less, right, as compared to Sarti, who charges so much.
13:52Well, first we need to pull a yes out of Bellini.
13:55But who knows?
13:56Of course.
13:59Mrs. 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.
14:22Yes, but amazing ideas still have to be in the realm of somewhat practical.
14:26She just doesn't have Saro's talent, you know?
14:28Like how we 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.
14:38Yes, 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.
14:46It'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.
14:58And 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.
15:06I'm not quitting.
15:18Pretty, 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?
15:32They 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 tits off, huh?
15:49What's so funny?
15:51No, 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.
16:25Then they'll see us together?
16:29Just let me or I'll worry.
16:34Okay, 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.
16:45Natasha's nice, right?
16:46Mama, look, guess who's here?
16:47He came back home.
16:51Dinner's almost ready.
16:53Oh, a maid was here, but I sent her away.
16:54And I helped him cook dinner.
16:56Yeah, she's been great, especially chopping potatoes.
16:58I decided to let her use that really big knife we have and she...
17:02Just 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.
17:12Hi.
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?
17:29Do you want to get arrested?
17:30I 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?
17:52Can we try to do that?
17:53All done.
17:54Can we eat now?
17:55I'm starving.
17:56Yes.
17:56And Lorenzo?
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, just how you like it.
18:13Remember 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?
18:28I 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,
18:51and I used that pen to sign all of the other contracts, Bardo, too.
18:55I want you to use it when you sign Mrs. Bellini.
18:58Remember 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?
19:08Even though I was gone,
19:09I still would worry quite a lot about my life back here.
19:13You mean the magazine, right?
19:19As of this moment, Playman is still open only because of you.
19:24I just want to thank you.
19:40What is it?
19:44Quit it.
19:53Lorenzo?
19:55Can we talk?
20:00Lorenzo, let's talk.
20:01Come out.
20:02You've been in there the whole night.
20:06Give me a chance to explain things.
20:14I really love you.
20:16You hear me?
20:18You hear me?
20:36Did you talk to Lorenzo?
20:45When we were still just kids,
20:49and I argued with my father,
20:50and he would beat me like always.
20:55Then I'd sneak out of the house to see you on the building's roof.
20:59You were desperate.
21:01But 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.
21:26No 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?
21:49No, I...
21:50It'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...
22:07Our relationship, everything we have together.
22:11It's not just sex, you know.
22:14You 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.
22:29It's always been you, only you.
22:36You better leave now.
22:38Or the neighbors might call the police on us.
22:49All right.
22:51Bye.
22:52Bye.
22:56Bye.
22:57Bye.
22:59Bye.
23:03Bye.
23:06Bye.
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.
23:36Come on in, then.
23:39You wanted to talk?
23:40Yes.
23:41You're with me today.
23:42Rye's doorman told me where the elusive Miss Bellini stops for lunch.
23:45Like clockwork.
23:52Something wrong?
23:54A couple problems with my son.
23:57You'll understand once you're a mother.
24:00I don't think I want to be one.
24:02How are you?
24:04How's the office so far?
24:06Lella told me she put you in charge of reorganizing the archive.
24:10Yeah, and I sorted a bunch of invoices.
24:11Seems like I've got a knack for it.
24:13How'd they look?
24:15You want me to be honest?
24:16Mm-hmm.
24:16You must.
24:18Well, it seems to me some expenses are phony.
24:21Like 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.
24:39Let me bring you the menu.
24:49The Twilight of the Soul Woman.
24:52I was so inspired after I watched that movie.
24:54It'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.
25:01Yes.
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.
25:12I 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.
25:52All you play men sharks just can't stop, can you?
25:53Do you 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.
25:59There'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, it would undoubtedly sabotage my career.
26:08No, quite the opposite.
26:09If you'll excuse me, I'm eating my lunch.
26:13Here you go.
26:20Well, we 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.
26:27She didn't say no.
26:29Mrs. Balsaman, Sarti has accepted work elsewhere.
26:34You can't think about it.
26:35Just think about the gold.
26:37You better get off the ship.
26:38Here's the list you have.
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, but in this office, news always just...
26:47Is it playboy?
26:48It is, but no hard feelings.
26:50Good luck.
26:50Bianca, you leaving?
26:53I'll stay on.
26:56Lella, is Chartreau in his office?
26:58Yeah, I can be there.
26:59Trust me.
27:00In front of the Mexican embassy?
27:01Yeah, I know where it is.
27:03I'm sorry, but the key is where?
27:08Sorry, I gotta go.
27:09I can't...
27:09Yeah, yeah, I'll explain later.
27:11Planning 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.
27:20All right, to start off, can you get to work reassigning all 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.
27:52Your 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 and it's safe to return, we 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.
28:21And Adelina's very intelligent, yes.
28:24But I've got ideas, too.
28:26Like pornography.
28:27Well, you mortalist now or what?
28:31No, no, no.
28:32For me, it's a question of aesthetics, never of morals.
28:35Aesthetics?
28:36Oh, of course.
28:38It's fine, let's mull it over.
28:41Listen, bring me that key, huh?
28:44All right.
28:57Well, Sarte leaving really paved the way for it.
29:00But still, regardless, his job is yours.
29:06Okay.
29:07Okay, that's enough.
29:24Mr. Chartreau.
29:25Fitman.
29:26Mrs. Balsamo is waiting for you.
29:29What a mess.
29:30Look at my hands.
29:34Yes, what is it?
29:37Oh, yes, come in.
29:44You're fired, Chartreau.
29:48Why am I fired?
29:49Disloyalty.
29:51I saw it clearly when you secretly consulted with Sato.
30:01It's not my intention to deceive you, ma'am.
30:03Sure seems like it.
30:08In your bottom drawer, there's a key at the back.
30:16It opens a safety deposit box where your husband kept a slush fund.
30:20So that's where he stuffed the stationary money, huh?
30:23I assume you knew?
30:24I kept in contact with Saro, that's true.
30:26But the safety deposit key was a complete shock to me.
30:28I agree with you.
30:30The magazine needs that money.
30:33I'm not happy that Saro's been transforming, playmen.
30:35In any case, this is no longer your problem.
30:38No problem.
31:04You have a visitor, Mr. 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, I found a holding company to acquire playmen.
31:23The move now.
31:24They'll pay you very well.
31:26Wow, that was really fast.
31:28If you ask me, you should take the offer.
31:31The deal's only on the table until Playboy destroys you.
31:33Nobody knows for sure who'll come out on top.
31:35Well, Adelina, you tried every possible solution, all without Saro.
31:40But this is Playboy and Rizzoli.
31:53You'll find the total down at the end.
32:01Consider.
32:02Just be quick, okay?
32:10Your opinion?
32:17When someone's willing to gamble this kind of cash on a has-been, it always spells scam artist.
32:22Ha.
32:31Yeah, all right.
32:32Come on, there.
32:33And you're sure it's not bigamy?
32:35Come on, please.
32:36I beg you.
32:37I said I handled all of that, didn't I?
32:39It's what lawyers are for, okay?
32:40And I pay them, so stop worrying, tell her.
32:42Cotswelo, try not to worry about anything.
32:44I had the church confirm, and they're sure that this previous marriage is getting completely nullified soon.
32:49The church is so, and we celebrate now instead, huh?
32:55Margarita, here.
32:59What's with the show?
33:00Can't we sign the damn thing and be done?
33:02Yeah.
33:03Let me first advise you to take off your old ring, or the show will turn into a farce instead.
33:08You want to get extradited?
33:10Hmm?
33:10Do you want to get extradited, then?
33:12Huh?
33:12No, no, no, no, no, no.
33:13No.
33:14If you don't want to get extradited, then 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.
33:22To all the dear friends present here, we've been gathered today for the union of this man and this woman
33:29in matrimony.
33:31Balsamo Rosario, do you take this woman to be your wedded wife?
33:37To live together in marriage, to love her, comfort her, and care for her, in sickness and in health?
33:46Being faithful only to her for as long as you both shall live?
33:56Yes, I do.
34:07Mrs. Bellini, we're almost on air. We're late.
34:10I can go. I can go. One second.
34:13Three, two, one.
34:16Hello again, viewers. Welcome.
34:17The soccer game you watched was between Italy and Hungary.
34:20Bye for now, viewers. All our programs are... are completed.
34:24Good night.
34:27What was shown?
34:28All of it.
34:35Mrs. Bellson.
34:37Morning, Lella.
34:38So I checked at the Chamber of Commerce, just like you wanted, but the financiers Rossetti found have offices in
34:43London, but are American.
34:46Rossetti tried to get away with 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, but still submits to my father.
35:10I would never have guessed it.
35:13I mean, she acts so strong and determined.
35:16It's all just an act.
35:18She's become such a doormat now.
35:20So, what about your father?
35:23You never mention him.
35:24You don't have any photos together.
35:27I don't really know my father.
35:29I did see him once, but at a distance.
35:35He was with his kids.
35:37The real ones.
35:39They kept quiet and just left.
35:44He was already married when he cheated with my mother.
35:48She got pregnant, and then he left her.
35:52But still, she puts it like,
35:56it's much better to keep the number of dicks down around here.
36:03So you and I won't be getting married.
36:14Fuck that happy couple shit.
36:24Yes, what is it?
36:31I had five million total spectators see me live when my top fell down the other day.
36:35Everyone at Rye is mad enough to kill me now.
36:37You came over to take refuge here in my office, huh?
36:41Look at this.
36:42Just let me find it quick, because there are, there are really so many.
36:45Ah, here's one.
36:47We're airmen who are stationed at Caserta, but we nearly dropped dead.
36:50You're so gorgeous.
36:51And I have one from a woman.
36:53Wait while I dig it out of here.
36:54This one here.
36:54Listen.
36:56Bless you, miss.
36:57Glad you're human.
36:58With an exclamation mark.
36:59That evening, a friend of mine called me with a story about how her daughter saw it and yelled out,
37:04Look, Mama, it's Emma, and her balloons bounced out of her shirt.
37:07How silly.
37:09I'd gotten so used to just being a type of pretty statue.
37:12A statue that only recites her lines with a perfect accent and diction that doesn't, doesn't experience emotions or have
37:18a body.
37:20You know what?
37:21I'm scared someone might notice I sweat.
37:23But you're right.
37:24Audiences are starting to change.
37:26Everyone was actually thrilled to find out the statue was just a human being.
37:31So I'll be your model then.
37:33But it's also for me.
37:35Because I want to feel proud of the woman who I really am.
37:38For once, at least.
37:39I want to show them my real self.
37:42But what if the folks on national television get angry with you?
37:46They can fuck right off.
37:52Sir, the contract has arrived.
37:53Thanks.
38:00We no longer depend upon anyone.
38:04We have new financial resources at our disposal.
38:07And we're free to begin a brand new chapter.
38:09We will no longer be known as Zaro Balsamo Editorial, but Tatiro Editorial.
38:16Congratulations, my treasure.
38:17I've got yours.
38:18All 90 million.
38:20And it's just what I needed to silence the bankers.
38:22Adelina, without that, I'll be arrested.
38:25And yet, the new playman is going to strip the woman most beloved by all Italian.
38:31Signorina Buonasera.
38:33It features an interview asking who she is.
38:36Asking what her ambitions are and what she desires.
38:39Because we want to prove to everyone that Mrs. Emma Bellini is a beautiful, intelligent woman, but also a modern
38:46woman.
38:47Beyond her role as Signorina Buonasera.
38:49I'll still pay you monthly.
38:51Of course, this allowance isn't enough to find your vices, so be prudent, my dear.
38:54But if you dare call even the lowliest of our typographers, then it stops there.
38:58The women of playmen are, they're hot, refined, intangible, just like Mrs. Bellini.
39:03The models that have their favors, they look almost like plastic Barbies.
39:07But then again, men in America are a bit childish and prefer voluptuous girls.
39:10Seems she went nuts.
39:11No, I don't think so.
39:12So now what, is it a feminist drag?
39:15No, it's an erotic one.
39:16In my conception of eroticism, women with their own desires and the right to enjoy their own pleasure are protagonists
39:23just as much as any of you men.
39:24Without me, Playboy will smash you flat.
39:26Mm-hmm.
39:27Hello?
39:28Mrs. Bolsonaro, Mrs. Bolsonaro, Mrs. Bolsonaro, let's do it this way, Mrs. Bolsonaro.
39:44I would have thought this party was for employees only.
39:47Is this a type of punishment?
39:48No, I'm re-employing you.
39:50I want you to serve as our editor-in-chief so that next time they can arrest you for a
39:54night in jail.
39:56May I ask you why you changed your mind?
39:58Because nobody's better.
40:00And because you know the trade.
40:01And because I'm sure you can help us grow and launch the new magazine, I want us to write articles
40:06that can address any topics that are taboo.
40:08Things like male contraception, the swinger lifestyle, and problems getting arrested.
40:13The transsexuals around the city, and homosexuality.
40:16This seems to be a pretty ambitious goal.
40:18And I want to make changes in the editorial staff, too.
40:20What's the plan on that front?
40:24Bianchi.
40:26He's out of here tomorrow.
40:29Who will fill his old position, then?
40:31I will.
40:32With the help of Elsa, she has an aptitude for numbers, looks like.
40:35Huh.
40:37And may I just say this?
40:39Please.
40:39Pauji's brilliant.
40:41He can make it even without you paving the way.
40:54So then, when am I going to be a cover model?
40:57Once you're working as an announcer for Rai.
40:59But I want something more.
41:02I want to be the host of Consonissima.
41:04Will you help me?
41:06One thing at a time, but we'll see, right?
41:09Hmm.
41:09Which thing to begin with?
41:18Keep me posted.
41:23You're having fun?
41:27But why not?
41:28I'm allowed to.
41:30Are you jealous?
41:31No 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.
41:42Bet you plan to screw us all over.
41:44First me, then Chartreau.
41:46What kind of asshole are you?
41:50The kind of asshole who's trying his best to survive.
41:53How about you?
42:08How beautiful do you look tonight?
42:16He must like men staring, but not me.
42:18Is that how it is, then?
42:21Easy, Elsa.
42:22I won't do anything to you.
42:25I love you.
42:26I already told you that.
42:26No.
42:27Just calm down.
42:28No.
42:29No.
42:30Don't you get that I 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.
42:37No, no.
42:38Hey.
42:41If you go near her ever again, I'm going to kill you.
42:44Get out of here.
42:53You all right?
42:58Then let me walk you.
42:59And let me walk you.
43:31Where are you going?
43:32To Anna's place just to crash.
43:37I'm sorry.
43:38When I slapped you like that the other night, I made a mistake, honey.
43:42I'm really sorry.
43:45And you were right.
43:47Your father's a manipulator.
43:50He made a fool out of me, I know that.
43:52And 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?
44:11I bet it's to prove to Dad who's more capable.
44:17Careful, or you'll end up like Dad.
44:19No, honey.
44:23Honey.
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