Baba Yaga 1973 Remastered

SnowMagicFilms

Baba Yaga 1973 Remastered   MagicFilms a division SnowMagicFilms The Very Best In Remastered Rare And Hard To Find Cult Classics And Films https://magicfilms.ecrater.com/

Transcript

00:00:29Transcription by CastingWords

00:00:35CastingWords

00:01:15CastingWords

00:01:28CastingWords

00:01:43When fumo troppo pochi per combattere

00:01:46Levammo le dente

00:01:47E scendemmo fino a Pine Ridge

00:01:49E c'erano già tanti Lakota

00:01:52C'erano anche tanti soldati

00:01:54Erano schierati su due file

00:01:56Con i fucili puntati

00:01:58E noi ci avviamo fra queste due file

00:02:05E così finì tutto

00:02:09Quando guardo indietro

00:02:11Da questo alto monte della mia vecchiaia

00:02:14Ancora vedo le donne e i bambini massacrati

00:02:17Ammucchiati e sparsi lungo quel burrone a zig zag

00:02:24Silenzio!

00:02:25Voi state offendendo l'America

00:02:27Gli Stati Uniti d'America!

00:02:29Guardaci bene, capelli lunghi

00:02:32Siamo noi gli Stati Uniti d'America

00:02:34Questo cielo e questa erba appartengono a noi

00:02:36Come appartenevano i nostri avi

00:02:38Sciocchezze!

00:02:39Ve li abbiamo comprati!

00:02:41Riprendetevi le vostre perline colorate!

00:02:45Questa brucio come offerta

00:02:47L'azione mia

00:02:48Guardala con gentilezza

00:02:57Il giorno del sole è stato la mia forza

00:03:00Il cammino della luna sarà il mio mantenio

00:03:03Una lode sacra faccio

00:03:05Una lode sacra faccio

00:03:21Io vi dico che non possiamo tollerare più a lungo la violenza e il saccheggio

00:03:25Non possiamo e non dobbiamo

00:03:30Non subiremo

00:03:31Le imposizioni di una minoranza irresponsabile di ribelli

00:03:35Che tenta di scardinare l'autorità costituita

00:03:41Noi prenderemo tutte le misure necessarie

00:03:45Per disperdere chiunque si abbandoni alla violenza

00:03:48E per restaurare l'ordine

00:03:52Occhio!

00:03:53C'è una pantera che arriva!

00:03:54Dai!

00:03:57Ma dai!

00:03:58Per tu lasci la motiglia!

00:04:00Andiamo!

00:04:01Vai dimmi la mia

00:04:01Ti rompi il bambino

00:04:04Guarda tu!

00:04:05Ma cosa fai?

00:04:06Vieni!

00:04:07Vieni!

00:04:09Vieni Valentino!

00:04:33Vieni!

00:05:18I think the Indian minority

00:05:20It's the Vietnam.

00:05:21What do you mean?

00:05:22It's happening here.

00:05:23No, no, but look.

00:05:24Everybody's coming back.

00:05:25You want to get here, Stan?

00:05:37Well, Guido, you've proven something.

00:05:40You really have demonstrated in your strip that even funnies can be revolutionary.

00:05:45Of course.

00:05:46Even Snoopy, in his own way, is anti-establishment.

00:05:50The reason for it is the reason for people already know everything.

00:05:53It's not agreed...

00:05:54No, you're ready.

00:05:56I can't.

00:06:03No, no, no, no.

00:06:05No, no, no, no, no.

00:06:07No, no, no.

00:06:09No, no, no, no.

00:06:10Oh, no.

00:06:27Ah, what race is that, darling?

00:06:51Oh, God, what a race.

00:06:56Sandra, let me try the Suzuki.

00:06:58Yeah, I admit it.

00:06:59We had one hell of a ride.

00:07:01You're a dear.

00:07:09I want to photograph you nude in a field of water.

00:07:12Okay.

00:07:14We'll talk about it.

00:07:15Thanks for the chicken.

00:07:16Oh, are you drunk?

00:07:18Oh, brother.

00:07:20Valentina Rosselli, she is a photographer.

00:07:22Ciao, Anna.

00:07:23Ciao.

00:07:23A photographer.

00:07:24Only publicity, fashion, art, politics and news.

00:07:27Haven't you ever heard of Cartier Bresson?

00:07:30Sure, Cartier Bresson.

00:07:32It's a pseudonym.

00:07:33Her real name is Valentina.

00:07:34Well, look, your only cost are your Indian ink and you can get that cheap enough.

00:07:38But try filming a motion picture and then you'll really see what heavy costs are.

00:07:42Look at Godard.

00:07:42That guy makes a good example.

00:07:44He proved that it is necessary.

00:07:45I know.

00:07:46Godard is Godard.

00:07:47What do you think about it, Valentina?

00:07:48Your guru hasn't done anything of merit since Piero LeFou.

00:07:51I'd much rather see Laurel and Hardy.

00:07:53You can expect a laugh.

00:07:54Is that all you like to do is laugh?

00:07:56Are you going back to Milan tonight?

00:07:58Yes, with Guido.

00:07:59If I can tear him away from his comic books.

00:08:02Would you give me a ride downtown?

00:08:04Yes.

00:08:05But it's a sports car.

00:08:06If you don't mind sitting on Arno's knee.

00:08:12No, I want to walk.

00:08:14But why?

00:08:14I haven't done anything, have I?

00:08:16Because I feel like walking.

00:08:17Thanks for the offer.

00:08:18Thanks for the ride, Guido.

00:08:19Ciao.

00:08:20Ciao, Valentina.

00:08:21Ciao, Anna.

00:08:22Wait for me.

00:08:23I'll be right back.

00:08:27Look, be reasonable, will you?

00:08:28It'll take you a half hour to get home on foot.

00:08:30It's already three o'clock.

00:08:33That's the nicest time of the day.

00:08:36Foggiest time of the night.

00:08:38I know, but fog turns me on, okay?

00:08:40Is that the only thing that turns you on?

00:08:42I'd better go with you.

00:08:43You shouldn't be alone at night.

00:08:49Listen, Arno.

00:08:50I don't feel like making love with you.

00:08:52Tonight.

00:08:55Good night, Arno.

00:09:01And go straight home.

00:09:05A growing boy like you need to sleep.

00:09:09Ciao.

00:09:14Hey, Arno.

00:09:16Your taxi's waiting.

00:09:34Well, are you sure you're ready?

00:09:38I don't know if I'll ever be ready for that check.

00:09:40Wait.

00:09:52Here.

00:09:55I'm there.

00:10:09I can read.

00:10:17Well, hello there, doggie.

00:10:20What are you doing out so late?

00:10:22You should be home in bed.

00:10:25Strange mark.

00:10:28Funny little thing.

00:10:30Funny ragamuffin you are.

00:10:35Good night, little dog.

00:10:43Look out!

00:11:22I'm very distressed.

00:11:25It's all right.

00:11:27I don't understand what happened.

00:11:30Nothing.

00:11:31It's my fault, really.

00:11:32I saw this little dog in the middle of the...

00:11:35Come.

00:11:35Get in the car.

00:11:37I'll drive you home.

00:11:38Really, it isn't necessary.

00:11:40I live nearby.

00:11:41Please.

00:11:43Why?

00:11:44It's the least I can do after the shock I've given you.

00:11:49I won't take no for an answer.

00:11:53All right.

00:12:06It wasn't the dog.

00:12:09What did you say?

00:12:12I was driving too fast.

00:12:15I had to.

00:12:16I knew that something was about to happen.

00:12:20Our meeting was preordained.

00:12:35How did you know this is where I live?

00:12:37There are many things that you'll want to know, my dear.

00:12:42But not now.

00:12:45Perhaps I'll be able to explain them to you later.

00:12:52But first, first, I must be sure.

00:12:56Allow me.

00:13:00Oh, I apologize.

00:13:04But I need a personal object of yours.

00:13:09Be assured that I'll return it to you tomorrow.

00:13:25Good night, my dear.

00:13:26And don't forget my name.

00:13:29My name is Baba Yaga.

00:13:38Good night.

00:13:41Good night.

00:13:44Let's go.

00:14:14What is that?

00:14:53Okay, I'm coming.

00:15:03All right, I'm coming.

00:15:12Good morning, all.

00:15:13This is your local sheriff speaking.

00:15:17Very funny.

00:15:18What time is it anyway?

00:15:21This may come as a bit of a surprise to you,

00:15:23but it's almost noon.

00:15:24Here, I'll make you some coffee.

00:15:30God, I'm sleepy.

00:15:31Come in late last night?

00:15:32Yes, that's not it.

00:15:34What is it then?

00:15:41I had this nightmare last night.

00:15:44What about last night?

00:15:48It's nothing.

00:15:50Did you get the paper?

00:15:55So what's new?

00:15:57Not a lot.

00:15:59Your left wingers are continuing to blockade the schools in Milano.

00:16:03You're a fascist.

00:16:05And you're an idealist.

00:16:08Let's go.

00:16:09Let's go.

00:17:14Hey, are you still there?

00:17:15I can't hold this post for too much longer.

00:17:19What?

00:17:20Oh, I'm sorry.

00:17:21What are you waiting for?

00:17:23We're finished.

00:17:38Good morning, my dear.

00:17:44Am I disturbing you?

00:17:46No, we're just finished.

00:17:49Come in.

00:18:24Bye-bye, Valentina.

00:18:26See you.

00:18:27Bye.

00:18:28I'll see you tomorrow.

00:18:49Well now, my dear.

00:18:51I've come to return this delightful little object which I took from you.

00:19:07May I put it back?

00:19:13Stop it.

00:19:15You can't do it.

00:19:19I'm not wearing the belt now.

00:19:23Oh, that is a pity.

00:19:35Last night you said our meeting was preordained.

00:19:38Preordained by whom?

00:19:41There are forces which control our actions and our feelings.

00:19:45What forces?

00:19:49It is too soon, Valentina.

00:19:52It is too soon.

00:20:00Oh.

00:20:07Do you always work with death?

00:20:11Yes.

00:20:13Well, it just depends on the kind of shot I'm after.

00:20:27That's the eye.

00:20:30The eye that freezes reality.

00:20:42Well, I shall have to go now.

00:20:46You must come to my house.

00:20:50Well, I don't know. I'm really very busy these days.

00:20:53Nonsense. You must come to visit me.

00:20:58I have a very old house.

00:21:00You might find it interesting, Valentina.

00:21:04Here, I'll leave you my address.

00:21:20Then may I count on it?

00:21:24I'll come, definitely.

00:21:31Splendid.

00:21:36Splendid.

00:21:46Splendid.

00:21:52Splendid.

00:21:56Splendid.

00:21:59Splendid.

00:22:07Yes?

00:22:07Valentina, this is Arno.

00:22:10How was your walk last night?

00:22:12It was fine.

00:22:13Anything interesting happen?

00:22:14Well, honey, I got $100,000 from an old man,

00:22:16and then a pimp slapped me around and took it away.

00:22:20And while I was in jail, I was raped by a dwarf.

00:22:23Is that enough?

00:22:25Yeah, well, I'm glad you had some fun, you know.

00:22:29Hey, listen, I'm shooting a TV show not far from your place.

00:22:32What are we talking about before I got up?

00:22:33Bring your camera over and take some shots.

00:22:35Do you remember that guy, Judy, he used to hang?

00:22:37Where are you?

00:22:40Excuse me, ma'am, can you tell me where we are?

00:22:42Where do you think we are? We're in Milan.

00:22:45Everybody's a comedian.

00:22:47Of course it's Milano, but what the hell's the name of the street, huh?

00:22:50It's on Viement Gogo, number two.

00:22:52Stay right on the Naviglio and look for Alfredo's.

00:22:54Viement Gogo, number two.

00:22:56Take Porta, teach you anything, and follow the Naviglio.

00:22:58Okay, I ought to be there in half an hour.

00:23:06Okay.

00:23:51What is he doing?

00:23:54Hey, I got him.

00:24:03Hey, he's a beauty, huh?

00:24:06Tell me, what on earth are you going to do with it?

00:24:09You'll see.

00:24:14All right, my little friend.

00:24:18Now we go to work.

00:24:24Okay?

00:24:25A little more to the right. Good.

00:24:29Now let me get my fingers back. How's that?

00:24:31Great. Can I shoot it?

00:24:32Yeah, go ahead.

00:24:45Shit.

00:24:47What's going on?

00:24:48I don't know. It's jammed.

00:24:55Did you get the shot?

00:24:58I got a little bit.

00:25:00Okay, tomorrow you come back, shoot up some more footage on it, huh?

00:25:03Right.

00:25:04Are you going? You know, I only got three or four shots of you.

00:25:06Oh, that's enough.

00:25:08Hey, listen, can you give me a lift to your place?

00:25:10There's a subway station right near there.

00:25:11All right, but you drive.

00:25:12Okay.

00:25:18What are you going to do with that close-up, the rat?

00:25:20No, I don't know. Maybe I won't use it.

00:25:22And then maybe I'll show it next to a photo of some big industrialist, huh?

00:25:27You think they'll let it pass through on you?

00:25:29Mm-mm. No.

00:25:31But I can still show it on a closed circuit, can't I?

00:25:34In other words, instead of showing it to a middle-class audience of 10 million,

00:25:39you'll show it to 10,000 intellectuals.

00:25:41And not in the service of ecology, but in the service of your own vanity.

00:25:45If you don't use the means that the system provides, what other possibilities have you got?

00:25:49Revolution.

00:25:50Revolution.

00:25:52And who starts it? The union does, right?

00:25:54Or intellectuals? Writers? Or movie directors?

00:25:59You're talking about me, aren't you?

00:26:01Hell, I'm only the little guy.

00:26:03Today, I shot a service on ecology.

00:26:06And tomorrow, I start a series of soap commercials.

00:26:09You're nothing but an old whore.

00:26:11That's true. And who isn't? We're all whores of various species.

00:26:15The only difference is that I'm a whore and admit it.

00:26:17While the majority are whores, but play at being saints.

00:26:20Believe me, Val, it's all a big farce.

00:26:22A game. And contradiction is the number one rule.

00:26:25Look, in some cases, contradiction is the only hope for salvation.

00:26:27Yeah, you're right. And who should know that better than you?

00:26:30Because to be frank, Val, you are a complete contradiction. You know that.

00:26:34How so, for instance?

00:26:35How so?

00:26:37Pretty soon, I'll be getting dropped off near your place.

00:26:39And if you were consistent with your nature, you'd invite me up for a drink.

00:26:45Oh, all right. Come on up.

00:26:52You know what you're doing.

00:27:11How so?

00:31:03Might as well.

00:31:04Come on.

00:31:04Let's get to work.

00:31:05Okay.

00:31:17Now, shoot.

00:31:22Tony, what happened?

00:31:26I...

00:31:27I...

00:31:28I...

00:31:33I...

00:31:35I...

00:31:39I...

00:31:40I...

00:31:42I...

00:31:43I...

00:31:44I...

00:31:48I...

00:31:49I...

00:31:54I...

00:31:55I...

00:31:56work...

00:31:57I don't

00:31:57I...

00:31:57I don't know, Valentina.

00:31:58I feel sick.

00:31:59Would you like to go home?

00:32:01Yes.

00:32:02Do you feel up to it?

00:32:03Don't worry about it.

00:32:04I'll take care.

00:32:05I guess you better.

00:32:06I'll get a taxi.

00:32:17Hello, could you send a taxi to be in my shuttle?

00:32:20I'm sorry, Valentina.

00:32:21Surgeon, yes.

00:32:22You're wasting your day.

00:32:24Don't be silly.

00:32:25I always have enough things to do.

00:32:26Just go home and take care of yourself.

00:32:29The taxi will be here in a few minutes.

00:32:30That's quick.

00:32:36Will you be here later?

00:32:38I don't know.

00:32:39I'll telephone you.

00:32:40Okay.

00:32:42Ciao.

00:33:13I don't know.

00:33:16I don't know.

00:33:20I don't know.

00:35:15I am so happy to see you, my dear Valentina.

00:35:21I was sure you would come.

00:35:24Yes, I've come to ask you a favor.

00:35:27I have to photograph some jewelry, see?

00:35:29And I wondered if you wouldn't mind if I did it here.

00:35:32Of course, my house is at your disposal.

00:35:38I'm rather lazy today.

00:35:41Therefore, I won't accompany you.

00:35:45But you can go where you like and take as many photos as you want.

00:36:13Oh, what beautiful necklaces.

00:36:16Please, may I see them?

00:36:35Oh, they're lovely to touch.

00:36:39But even lovelier to hear.

00:37:59Valentina, you must not worry about that hole, my dear.

00:38:04That part of the house needs some repairs.

00:38:07You might find some interesting things to photograph upstairs.

00:41:32Aren't you feeling well, my dear?

00:41:34Is there anything I can do for you?

00:41:37No, thank you.

00:41:38I just had a dizzy spell, but I'm all right now.

00:41:41You're welcome.

00:41:42You're welcome.

00:41:42Oh, nonsense.

00:41:43I'm always alone here.

00:41:46Your visit has given me great pleasure.

00:41:50Fact, I want to give you a little present.

00:41:55Here.

00:41:59Here, this is Annette.

00:42:02You must always have her with you.

00:42:05She will protect you from any harm.

00:42:11What do you mean?

00:42:12There's nothing threatening me.

00:42:14You never know, my dear.

00:42:18You never know, my dear.

00:42:30There's nothing good.

00:42:37There's something like this.

00:42:37No, it's not.

00:42:37There's nothing like this.

00:42:38Yeah.

00:42:46I know.

00:42:46You're right.

00:42:47You're right.

00:42:47I know.

00:42:48You're right.

00:42:49You were right.

00:42:49I know.

00:42:49You're right.

00:43:00Why did I accept you anyway?

00:43:10Of course, you can't answer, can you?

00:43:12You're just a little doll, aren't you?

00:43:19I'm sorry.

00:43:21You're just a little doll, aren't you?

00:43:27I'm sorry.

00:43:33I'm sorry.

00:43:38I'm sorry.

00:43:43I'm sorry.

00:44:13And I think those kids are only doing that.

00:44:15They're doing what they think is right.

00:45:03Don't touch him!

00:45:04Don't touch him!

00:45:04Come on, ambulance.

00:45:10Is he still breathing?

00:45:12Somebody get some help.

00:45:13Get ready.

00:45:14We've got to break that photo, we'll get it.

00:45:44We've got to break that.

00:46:16We've got to break that.

00:47:06We've got to break that.

00:47:43We've got to break that.

00:47:47We've got to break that.

00:47:48We've got to break that.

00:48:17We've got to break that.

00:48:18We've got to break that.

00:48:42Hello?

00:48:44Hello?

00:48:54Hello?

00:49:09Hello?

00:49:14Hello?

00:49:23Hello?

00:49:32Hello?

00:49:38Hello?

00:49:40Hello?

00:49:55Hello?

00:50:00Hello?

00:50:08Hello?

00:50:11Hello?

00:50:21Hello?

00:50:22Hello?

00:50:23Hello?

00:50:27Hello?

00:50:36Hello?

00:50:39Hello?

00:50:41Hello?

00:50:55Hello?

00:51:08Hello?

00:51:10Hello?

00:51:11Hello?

00:51:12Hello?

00:51:21Hello?

00:51:22Hello?

00:51:37Hello?

00:52:07Hello?

00:52:15Hello?

00:52:29Hello?

00:52:32Hello?

00:52:37Hello?

00:52:47Hello?

00:52:48Hello?

00:52:49Hello?

00:52:55Hello?

00:52:57Hello?

00:52:58Hello?

00:52:59Hello?

00:53:07Hello?

00:53:08Hello?

00:53:09Hello?

00:53:12Hello?

00:53:15Hello?

00:53:26Hello?

00:53:28Hello?

00:53:29Hello?

00:53:31Hello?

00:53:32Hello?

00:53:32Well, yes, you let me see.

00:53:35It really turns you off.

00:53:43That's it, kids.

00:53:44Oh, you know what?

00:53:46Oh, would you be?

00:53:47I think the next time we do this, we ought to make love for real.

00:53:50It's okay with me, Rowena. How about right now?

00:53:53No, thank you. I'm with you.

00:53:55The future of the third world is in your hands.

00:53:57Right on.

00:54:01Ciao, Valentina.

00:54:03Ciao.

00:54:03Ciao, Rowena.

00:54:05See you around, eh?

00:54:05More than likely.

00:54:23Bam, a short circuit. That's all we needed.

00:54:31There. I guess it wasn't a short circuit.

00:54:59What's happened to you, Rowena?

00:55:02Oh, I'm all right.

00:55:03I just got a little busy.

00:55:06Isn't this weird?

00:55:07I pricked myself with something.

00:55:09Look.

00:55:17It's not even bleeding.

00:55:20I wonder what it was.

00:55:25Does it still hurt?

00:55:26No, not really.

00:55:27Just burns a little.

00:55:29Well, I better go.

00:55:31I still feel a little dizzy.

00:55:32Give me a call, will you, when the photos are done?

00:55:34Okay.

00:55:35I should have them tonight or tomorrow at the latest.

00:55:37Great. Ciao.

00:56:12Anna, I have to talk to you right away.

00:56:15I'm waiting for you, Valentina.

00:56:22No, no.

00:56:30Oh, see.

00:56:36I'm going to get you.

00:56:37I'm gonna get you, Saint-Gerr, here.

00:56:37Didn't know him.

00:56:37There.

00:56:38Oh, yeah.

00:56:39Oh.

00:56:39Oh, yeah.

00:56:40Oh, yeah.

00:56:42Oh, oh, yeah.

00:56:43Oh, yeah.

00:56:49No! No! No!

00:56:54No! No!

00:57:05Oh, it's utterly fantastic.

00:57:08How did you do it, Captain White?

00:57:10All right, Fred, now zoom in.

00:57:14You see, all it takes is nettle.

00:57:17The wonderful detergent with the extraordinary action.

00:57:20Get some in the morning, your dirty clothes will like its touch.

00:57:24Stop.

00:57:26How was it for you?

00:57:27All right, I'd like another one not so tight.

00:57:29We'll make one more.

00:57:30Okay, set it up.

00:57:31Arno, you want to know which ones were the good ones?

00:57:34You were the good ones.

00:57:35What number do I use?

00:57:36The same one, just add an A to it.

00:57:38Okay.

00:57:39We know how to do them.

00:57:53Well, well, you guys take a break.

00:58:06Valentina, what brings you here?

00:58:08I must talk to you.

00:58:10Has something gone wrong?

00:58:11Everything has gone wrong.

00:58:14Hey, Arno, we're all set to shoot.

00:58:16Are you coming, huh?

00:58:17You go ahead and shoot it.

00:58:18You know what to do, huh?

00:58:19Okay, you're the boss.

00:58:21Let's get moving.

00:58:24It all boils down to this mysterious lady

00:58:26who'd like to introduce you to the delights of sapphic love.

00:58:29So what?

00:58:30You give her a lovely curtsy and you say,

00:58:32many thanks, but I'd much rather make love with my friend Arno.

00:58:36Yeah, yeah, I like that.

00:58:37You don't understand anything.

00:58:39There's something different about Baba Yaga.

00:58:41It's as if she came from some other world.

00:58:43A world subject to other forces.

00:58:45Her eyes are so strange.

00:58:48The big world is full of people with strange eyes.

00:58:51No.

00:58:52Not like this.

00:58:57There's something else.

00:58:59I don't know what it is.

00:59:00I can't even imagine it.

00:59:02And that's what scares me.

00:59:04For example, that hole in her living room

00:59:07doesn't just lead down to her basement.

00:59:10There's no end to it, don't you see?

00:59:13Soon you'll be telling me that it's the pearly gates of hell

00:59:16and your Baba Yaga is the custodian witch of it.

00:59:18How do you know she isn't?

00:59:21No.

00:59:23Because it's mad, that's all.

00:59:24Well, because we're living in the 20th century.

00:59:28We're putting men on the moon, transplanting organs.

00:59:31Witches don't exist.

00:59:33Listen, you're being a bit too naive.

00:59:37Hell, Val, if it's anything, it's the world we're living in.

00:59:43And if it did exist, I'll bet you, with all those souls,

00:59:46you can be certain that by now, why,

00:59:48it certainly would have been turned into some kind of supermarket.

00:59:53Hmm?

00:59:54Yes, sir.

00:59:58If only I could...

01:00:00But something happened today, when the lights went out.

01:00:05I don't know what, but there's something,

01:00:08some detail that I can't pin down that would help me understand.

01:00:15Even if the idea scares me to death.

01:00:18Understand what, Val?

01:00:19Now look, you meet an old lesbian, huh?

01:00:23And a friend of yours gets a headache,

01:00:25all of a sudden it's sorcery and witches.

01:00:28She's pale.

01:00:30Her hands are icy.

01:00:32Listen, I have an old aunt in Trevisia who has two teeth like that, huh?

01:00:35But that doesn't make her Dracula.

01:00:37Oh, I don't know.

01:00:40Maybe you could use the night out.

01:00:42I have an idea that might help.

01:00:44How about coming over to the chinny club, huh?

01:00:47Really?

01:00:49What's playing?

01:00:50It's a series on German expressionism.

01:00:52All right.

01:00:54Anything's better than going home.

01:01:05What?

01:01:06What?

01:01:06Who's selling my designs?

01:01:07I bought my own comic books to a big editor who does the books.

01:01:11Who's writing books?

01:01:12So it doesn't mean to be a great community,

01:01:15but to be a big audience, finally!

01:01:17And a nice lot of money!

01:01:19What do you want to do with my own theme?

01:01:21What do you want to do with your criticism?

01:01:22It's an anti-capitalist.

01:01:23Well, I'll have to smuss some punta,

01:01:27modify some punta,

01:01:29make it a bit more commercial,

01:01:31but it's a price that is worth paying.

01:01:33Do you think?

01:01:54What's the matter? Are you all right?

01:01:58Interesting, isn't it?

01:02:01It's nothing. Sorry.

01:02:36It takes me time out.

01:02:39Okay?

01:02:54Come on, let's go.

01:02:55What's the matter with you?

01:02:55Come on, Harry.

01:03:12Will you please tell me what the hell is going on?

01:03:14I just thought of it.

01:03:15I remember the camera was on the table.

01:03:17The shutter was closed and then the lights went out.

01:03:20And when they came on, it was near the dowel.

01:03:22And the shutter was released.

01:03:24So what?

01:03:25Don't you see?

01:03:26Someone used it.

01:03:27Someone took pictures with it when all the lights were out.

01:03:34But that's impossible, they couldn't.

01:03:40I know.

01:03:53Oh, you see the film's used up.

01:03:56Are you certain you didn't use it off?

01:03:57Positive.

01:03:58I loaded new film while I was talking to our Juby.

01:04:01And then I remembered all those coincidences.

01:04:03Tony's illness, your camera jamming, the death of that hippy kid.

01:04:05And I thought this camera had a curse on it.

01:04:08So I used another just to be on the safe side.

01:04:12Well, we'd better develop it then, huh?

01:04:15But if they were taken in the dark, there won't be anything to see.

01:04:20Are you sure?

01:04:25No.

01:04:30Let's try it.

01:04:37Hey, is that the doll named Annette?

01:04:39Yes.

01:04:42Not bad.

01:04:44If she ever becomes flesh and blood, call me.

01:04:47I'll talk to her myself.

01:05:01No.

01:05:15Oh, my God.

01:05:17It's impossible.

01:05:36The dog named Annette.

01:05:37I'll talk to you next week.

01:05:37Yes.

01:05:38That's the dog named Annette.

01:05:41It's not me.

01:05:41I don't know what that is.

01:05:41Yes.

01:05:42Yes.

01:06:00I ran away.

01:06:01What's what it is.

01:06:11What's Rowena's number?

01:06:58Hello, this is Arno Trevi.

01:07:00May I please speak to Rowena?

01:07:06A friend of Valentina's, it's Mosterjee.

01:07:11What?

01:07:14I'm sorry.

01:07:22Arno?

01:07:24Is she dead?

01:07:26Two hours ago.

01:07:30I'm sorry.

01:07:37What's wrong?

01:07:45I'm sorry.

01:07:57I don't know.

01:08:24Let's go.

01:08:51Let's go.

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