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00:00¡Suscríbete al canal!
00:30¡Suscríbete al canal!
01:00¡Suscríbete al canal!
01:29¡Suscríbete al canal!
01:59¡Suscríbete al canal!
02:29¡Suscríbete al canal!
02:31¡Suscríbete al canal!
02:33¡Suscríbete al canal!
02:35¡Suscríbete al canal!
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02:39¡Suscríbete al canal!
02:41¡Suscríbete al canal!
02:43¡Suscríbete al canal!
02:45¡Suscríbete al canal!
02:47¡Suscríbete al canal!
02:49¡Suscríbete al canal!
02:51¡Suscríbete al canal!
02:53¡Suscríbete al canal!
02:55¡Suscríbete al canal!
02:57¡Suscríbete al canal!
02:59¡Suscríbete al canal!
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03:09¡Suscríbete al canal!
03:11He's our director and star.
03:14Clinky blintz.
03:15Blintz, blintz.
03:16Here's Mr. Dresden.
03:18If you think the opening scene of the in-out show is pretentiously obtuse,
03:22you should just be patient.
03:24Do you see Miss Osborne?
03:25Shh, shh, shh, shh, shh.
03:27For once it gets going,
03:29it swings downhill with all the pace and deafness of an alpine glacier.
03:36Fascist.
03:38Please, it's important.
03:39What?
03:40Oh, Miss Osborne.
03:41Um, I don't see her. I know she's here.
03:45Oh, she probably went to the powder room.
03:47Well, we have to see her immediately, so, uh, would you mind?
03:51Might as well. I don't have anything else to do.
03:53Things certainly don't look too promising around here.
03:55Ah, Paul Hastenbrook. There's a critic for you.
03:59Last night at the New Wave Theater, the in-out show went on.
04:02And on, and on, and on.
04:07The reviews aren't exactly mofo, are they?
04:09Mofo?
04:10Yes, that's the box office to foreigners.
04:14Whatever she wanted to tell us,
04:30I guess we'll have to find it out for ourselves.
04:33We'll be right back at the New Wave Theater.
04:36We'll be right back.
04:37We'll be right back.
04:40Sure.
04:41So,
04:42there's going to be a person you have to be right away.
04:44¡Gracias!
05:14¡Gracias!
05:44¡Gracias!
06:14¡Gracias!
06:44...except for the processing of the most routine and unclassified material.
06:48¡Yes, sir!
06:50I gather you see some connection between this and the late Miss Osborne.
06:55Well, possibly none.
06:57But for the time being, this is the only thing we probably go on.
07:01And we must remember, gentlemen, that that theatre is only 2 blocks away from here.
07:06I know one of the girls on the show.
07:10After those reviews, I have a feeling if you don't hurry, you'll miss her.
07:14No es incluso una semana desde el domingo.
07:18Bueno, perdón mi amigo, estamos vendidos por semanas.
07:22¿Por semanas?
07:24¿Cómo se puede...
07:26Hola, no es emocionante?
07:32Sí, es increíble, yo estaba buscando a ti, ¿quién es ese?
07:35Oh, ese es el señor Machina, es nuestro productor.
07:38Vamos, estamos teniendo una reunión de costes y no puedo ser tarde.
07:40Un mes.
07:41Estamos vendidos por un mes.
07:43¿Puedes imaginar?
07:46Just think what you could do with lukewarm reviews.
07:48Vamos, chicos, vamos. Vamos, vamos.
07:51Ahora, probablemente todos curiosos, ¿qué ha pasado?
07:54Bueno, ahora, para el hombre que va a dar la respuesta,
07:56aquí es nuestro productor, el productor David X. Machina.
08:08Artistas del teatro.
08:10Last night, ¿ustedes hicieron tragedia y desgracia?
08:13As for the first, you know, Eileen Osborne would have wanted you to bounce back,
08:18just as you have.
08:19She always said, the show must go on, always.
08:23She was quite a conversation with us.
08:25It is for this reason that I decided to buy all the tickets for next month personally.
08:31I shall distribute them in the firm belief that word of mouth should quickly bring to your incomparable artistry the recognition it so richly deserves.
08:42Mr. Machina, on behalf of the entire cast, I would like to say how deeply we appreciate your trust in us,
08:57and I promise that we will do everything to prove that trust well-founded.
09:03Thank you, Miss...
09:06Gerard, Janet Gerard.
09:07And as Miss Osborne's understudy, I only hope that I can step into her illustrious footsteps
09:14in the illustrious way that she would have wanted.
09:18Well, on that point, Miss Gerard, while I'm quite confident in your talent,
09:23I do feel that the role should have a more experienced person.
09:29Mr. Blint, therefore, has agreed that Miss Osborne's replacement should be...
09:36Miss Linda Lamontier.
09:53Is she a well-known star?
10:03I thought I knew everybody in show business.
10:06I never heard of her.
10:11Seems a trifle unfair to me, Napoleon.
10:14You dally around with a lush young actress,
10:18while I go prowling around in a dirty basement.
10:20Ah, but we both have the same noble objective in mind.
10:23By the way, do you know anything about plumbing?
10:26Yes, you turn the tap counterclockwise for warm and clockwise for cool.
10:30That's very good.
10:31Keep clockwise.
10:35Start with nothing.
10:37Take it away.
10:42Hey, hey, hey.
10:45New admittance.
10:46Plumbing repairs.
10:48We'll go for plumbing.
10:49Oh, boy.
10:51Well?
10:53It's over there.
10:56No.
10:58No.
10:59Didn't know anything was wrong with the plumbing?
11:02Never, precisely, wherever you stand.
11:07Always the same.
11:09How are you doing?
11:10After all, it's his money.
11:13He wants an experienced actress for the job.
11:16That should be his prerogative, right?
11:18Right.
11:18Right.
11:19I'd like to ask you about Eileen Osborne.
11:23Well, I hate to speak your look at the dead,
11:25but she certainly wasn't much of an actress.
11:27She was, you know, well-liked.
11:30You know anyone who didn't like her?
11:32Huh?
11:33There's someone who might want to do her harm.
11:35Harm? Eileen?
11:36I'm sorry.
11:41Oh, it was my fault.
11:43Well, it was my pleasure.
11:45Who was that man?
11:57Hmm?
12:00Obviously, someone was a tasteful, pretty young girl.
12:04And they put you in charge.
12:06Can you really imagine a man like that
12:08going for anyone like Janet and Jared,
12:10or whatever her name is?
12:12What are you thinking?
12:15Obviously, he could be from uncle.
12:18Don't worry about it.
12:20If he's an uncle agent,
12:21I can assure you it'll be taken care of.
12:38Hey!
12:38Hey!
12:42Oh, you took the wrong turn.
12:44The main pipe is here.
12:46Oh.
12:47Sorry.
12:53Hey!
12:56Hey!
12:57There's a show going on upstairs, you know.
13:00So it just isn't my night.
13:02Just make sure you put everything back the way it was.
13:05Yeah, yeah, yeah.
13:06It'll be a pleasure.
13:07Hey!
13:07Hey!
13:12There's a show going on.
13:13There's a show going on.
13:14There's a show going on.
13:15There's a show going on.
13:16There's a show going on.
13:17There's a show going on.
13:18There's a show going on.
13:19There's a show going on.
13:20Anything?
13:21Well, they might be able to hide a tunnel entrance,
13:22but they couldn't cover up the signs of digging.
13:25As usual, we're on the wrong track.
13:27I haven't had a chance to talk to Janet.
13:32All right, good man.
13:33Would you take this and buy yourself a bar of soap?
13:38You're a dirty guy.
13:39You would think that if the show were as good as Mr. Machina says it was,
13:48why was the audience so quiet?
13:51Maybe they were overcome.
13:55Well, wouldn't you think they'd give us at least one curtain call?
13:58And Miss Lamontier.
14:01Oh, I hate to be sour grapes, but she...
14:04I could play rings around her.
14:06How do you suppose she ever got the part?
14:09Come on, I'll get you something to eat.
14:12No.
14:13Thank you, Napoleon.
14:14I just want to go home and go to sleep.
14:17That's all.
14:18See, one of my shorter dates.
14:19Very pleasant, though.
14:20Okay, I'll take you home.
14:22You don't have to.
14:23Well, I thought maybe we could talk about Miss Osborne, Machina, other things.
14:29Please.
14:30I'll feel much more like talking tomorrow night.
14:32I'm sure.
14:33All right, only slightly offended he bade her good night.
14:36Mr. Solo?
14:37Uh, yeah.
14:38We've got a message to relate to you.
14:39Yeah, like don't go near that broad.
14:40Anymore?
14:41At all.
14:42You see, a friend of hers likes it that way.
14:43That way.
14:44See, I thought that kind of dialogue went out with high-button shoes.
14:46We're very serious.
14:47Very.
14:48Very.
14:49Well, I think everyone should be serious once in a while.
14:50Oh, no.
14:51No.
14:52No.
14:53No.
14:54No.
14:55No.
14:56No.
14:57No.
14:58No.
14:59No.
15:00No.
15:01No.
15:02No.
15:03No.
15:04No.
15:05No.
15:06No.
15:07No.
15:08No.
15:09No.
15:10No.
15:11No.
15:12No.
15:13No.
15:14No.
15:15No.
15:16No.
15:17No.
15:18No.
15:19No.
15:20No.
15:21No.
15:22No.
15:23No.
15:24No.
15:25No.
15:26No.
15:27No.
15:28No.
15:29No.
15:30No.
15:31No.
15:32No.
15:33No.
15:34No.
15:35No.
15:36No.
15:37No.
15:38No.
15:39No.
15:40No.
15:41No.
15:42No.
15:43No.
15:44No.
15:45No.
15:46Estoy seguro de que está bien, mi querido.
15:48Creo que, por lo menos, que mi trabajo no va a dejarlo de nuestra hair por estos próximos días.
15:56Tengo una pregunta.
15:58¿Qué?
15:59Poner Mr. Solo en la caja.
16:16Tienes que ir, amigo.
16:26Ok, tie-los y yo.
16:29All right.
16:31Ok.
16:42Sir, Mr. Solo's distressed transmitter has been activated.
16:46Here's where it started.
16:50Get with me, Mr. Cody Arkin.
16:52It seems to be heading towards Central Park.
16:54Here's where it started.
16:56Get with me, Mr. Cody Arkin.
16:58It seems to be heading towards Central Park.
17:00Let's go.
17:02All right, put him down, right there.
17:32All right, put him down, right there.
18:02All right, put him down, right there.
18:32All right, I approve much of your choice of swimming pools.
18:35It'd be all right if they just wouldn't put so much chlorine in the water.
18:38All right, put him down, right there.
18:40All right, put him down, right there.
18:42Come in, Mr. Sello.
18:44Where are you?
18:46In a Turkish bath, sir.
18:48Oh.
18:49Oh, yes, of course.
18:51Well, we've run a check on Mr. Mackenham.
18:54Not thrush?
18:55I wouldn't be surprised.
18:57Very wealthy.
18:58Source unknown.
19:00Has a background in electronics.
19:03Well, everything adds up, sir, except there's no sign of a tunnel.
19:06How else could they be using that theater?
19:08That I don't know.
19:09But it's absolutely imperative that we find out.
19:13Our inability to use the computer is paralyzing our entire organization.
19:17Well, I have an idea they killed Eileen Osborne because she found something,
19:22then replaced her with one of their own so they wouldn't have to do it again.
19:25Ergo, the answer must be available to the new leading lady.
19:29Hmm.
19:31Well, perhaps under the circumstances, we ought to have someone on the inside.
19:36I have another idea, sir.
19:38Didn't you tell me you played the French horn?
19:41I played the English horn, yes.
19:43Well, French horn, English horn, what difference does it make?
19:46There's a number in the show called A Man is a Horn.
19:50Oh, no.
19:51I categorically refuse.
19:53It's a direct order, Mr. Kuriakin.
19:59Yes, sir.
20:02Well, how do you intend to get rid of the fellow who's doing the number now?
20:05Knock his teeth out?
20:06Haven't you ever heard of Napoleon Solo,
20:08the town scout for the famous Hollywood mogul,
20:12L.B. Sternmacher?
20:14Ah.
20:15Oh.
20:15Hmm.
20:18How could you do it to me, Mr. Solo?
20:19Stealing one of my best men.
20:20Off he goes to Hollywood without even an hour's notice.
20:23Now, how am I going to replace him?
20:24You've got a couple of hours till showtime.
20:26You'll come up with something.
20:27Oh, well, thanks a lot.
20:29Napoleon?
20:30Hmm?
20:30You never told me you were a talent scout for Hollywood.
20:34Well, I didn't want to destroy the purity of our relationship.
20:37Oh, yeah, but...
20:39Gee whiz, Freddie's small?
20:41Well, your time will come, love.
20:43Winking.
20:44Things are just naturally working themselves out.
20:47What?
20:48There's a guy out here who wants to see you about a job.
20:50I'm busy now.
20:50Go away, will you, Adolf?
20:51Well, he says he plays the horn.
20:53Plays the horn?
20:54Well, where is he?
20:56There's this question of timing and talent.
20:59And if you've got the talent,
21:00the timing will eventually work itself out.
21:02A man is a horn.
21:21Viciously he vibrates in double-reed duplicity.
21:25Honking, screeching, squealing,
21:28displaying his talents for nothing but noise.
21:35A man is a horn.
21:41He is also a lute.
21:45Strings turn tightly to tune the tension that pulls him apart.
21:51While percussively plucking the strings
21:53and goodness that should in his heart find a plot.
21:56Where did you get him?
21:57It was a miracle, an absolute miracle.
22:01But does not.
22:03A man is a lute.
22:07I don't believe in miracles.
22:09A man is a drum.
22:28What's the matter, Miss Lamont here?
22:33You look as if you've seen a ghost.
22:35Well, it's just that I didn't expect to see you here.
22:39Well, as a matter of fact,
22:40I didn't expect to be here.
22:41I guess I'm just staged.
22:44A man is a drum.
22:59A man is a drum.
23:03You can't stand here, mister.
23:20Ah, well, I'm waiting for Miss Jarrett.
23:23It's very dank out in the alley,
23:25and I also understand there's a very bad hoodlum element in the neighborhood.
23:28Adolf, he's okay.
23:30Stay out of the way, huh?
23:31Oh, indeed, I will, yes.
23:33Hi.
23:35Hi.
23:37A man is a song.
23:49Isn't he great?
23:51Not bad, if you like one-man bands.
23:55No, this is tomorrow night.
23:57Fine.
23:58Fine, fine.
23:58Good.
23:59Fine.
23:59I'll be right with you.
24:00Right.
24:00There's no little sea.
24:14Anything?
24:15Not so far.
24:16What about you?
24:17I don't know how important it is,
24:19but the star's dressing room is always locked.
24:22Even she doesn't have the key.
24:24Who does?
24:26Him.
24:28Name's Adolf.
24:30A man is a horn.
24:34I'm ready.
24:36Okay.
24:37Okay.
24:37Okay.
24:37I'm ready.
25:06¡Gracias!
25:36¡Gracias!
26:06¡Gracias!
26:08¡Gracias!
26:30Open Channel D for the Napoleon solo
26:32Broadway Rhythm
26:34Broadway Rhythm
26:36Everybody sing
26:38And I know another one you're gonna like too
26:42I sing all the instruments
26:44Napoleon
26:46Come in Napoleon
26:48I'm sorry I had to call you back
26:50But I figured you'd wanna know
26:52You did the right thing, I don't
26:54You know who it is?
26:56No sir, I didn't see him
26:58Just a moment
27:00Napoleon
27:02Come in Napoleon
27:04That's our little man with the horn
27:06Come in Napoleon
27:08Looks like we need another replacement for tomorrow
27:10What a pity
27:12What was the best thing on the show
27:14Napoleon solo
27:16Should I take care of him now?
27:18Unfortunately
27:20Yes
27:22Decidedly no
27:24What?
27:26Come on here
27:28Think
27:30Uncle has planted a man in the cast
27:32They obviously must have strong suspicions about us
27:36What would you do if you were in their circumstances
27:38And highly suspicious?
27:40I'd postpone the computer input
27:42I'd postpone the computer input
27:44Of course you would
27:45You postpone it
27:46Until you stop the leak
27:48I think we should free Mr. Couriakind
27:52And try to convince him
27:54That the leak has been stopped
28:00Adolf
28:02Napoleon
28:04For the last time
28:05Will you come in please?
28:06Napoleon
28:07Come in Napoleon
28:08All God's chillin'
28:09Got rhythm
28:10Ticka ticka ticka tick
28:11All God's chillin'
28:12Got swing
28:13Maybe haven't got money
28:15No
28:16Maybe haven't got shoes
28:17Big
28:18All God's chillin' got rhythm
28:19For to push away the blue
28:20Whoa whoa whoa whoa
28:22Boom boom boom boom boom boom boom boom
28:23All God's chillin'
28:25Got trouble
28:26Trouble don't mean a thing
28:29When they start to go
28:33Ho ho de ho
28:34Trouble's bound to go
28:35Where you say
28:36All God's chillin'
28:37Got swing
28:40All God's chillin'
28:44They got rhythm
28:59When they start to go ho de ho
29:01Trouble's bound to go
29:02Where you say
29:03All God's chillin'
29:04Got rhythm
29:06Oh
29:12Well
29:13Well now what do you think
29:15L.B. Sternmacher would say to that?
29:17I uh
29:18Why don't you make some coffee
29:20And we'll uh
29:21You know
29:22Talk about it
29:23Whoa
29:30Boy am I glad to see you
29:45I thought I might have to spend the night here
29:47You see I rather stupidly locked myself in
29:49You didn't lock yourself in
29:51Huh?
29:52I locked you in
29:53Huh?
29:54I locked you in
29:58No no no please
29:59Listen to me
30:00I know you're from uncle
30:01Go on
30:02And I know just what you're looking for
30:04The computer tab right?
30:05You're answering the questions
30:06Okay
30:07I can lead you to it
30:09I mean it
30:10You just say the word and I'll take you there
30:13Why should you do such a noble thing?
30:16Money
30:17Money
30:19Oh
30:20How much?
30:21Twenty thousand
30:22Ten
30:23Look you gotta make it worthwhile
30:25If
30:26Thrush finds out what I'm doing
30:27You know what's gonna happen
30:28With a little money I can
30:30Leave the country
30:31Maybe South America
30:32I can start all over again
30:34I'm not in the habit of carrying that much cash with me
30:37No but you can get it
30:39Can't you?
30:40Can't you?
30:47You lead
31:10Well this is where I leave you
31:31Just a minute
31:32Look Mr. Koryak and I brought you here that's enough
31:35Don't expect me to be around when things start happening
31:38I'm not sure I'm getting ten thousand dollars worth of service
31:41Well you just go through there
31:43If you don't find what you're looking for
31:45You don't pay
31:47No I'm afraid that won't do
31:48You just keep leading
31:53And don't turn around
32:08And this one lists the batting averages of all the players in their inter-office softball league
32:23Hardly of earth-shaking importance is it?
32:26Not at the moment but uh
32:28It couldn't have gone better Mr. Mackinac
32:33I saw the explosion myself
32:35It was a good one
32:36Beautiful
32:37Excellent
32:39You'll forgive me if I gloat my dear
32:42But I have reason to be quite proud of myself
32:45When I first proposed to Thrush Central
32:47That we build and equip two tunnels
32:50One to be used as a decoy
32:52You should have heard them scream
32:53You can't do that, Mackinac
32:55You're ready over budget for the first tunnel
32:57It is a complete waste of time and money
32:59Well
33:00Now I wouldn't be surprised if I'm in line for a promotion
33:05I knew you were on your way off
33:07From the moment I met you I knew
33:10Hmm
33:11Adolf
33:12Huh?
33:13How much is this uncle agent going to give you?
33:16Five thousand dollars
33:18Mm-hmm
33:19Knowing you as I do Adolf that means ten
33:22Very well
33:24When he delivers it you can keep five hundred
33:26Thank you
33:28Do you think he will deliver?
33:32I'm sure of it
33:34I'm sure of it
33:36I probably shouldn't have given you such a big piece of cake
33:40Do you realize this must have a million calories?
33:42Mmm
33:43You know it's unfortunate you're such a good cook
33:45Hmm?
33:46Well I mean it takes away from your other obvious attributes
33:49Hey do you realize it must be one o'clock?
33:52You know
33:53You know you better get going
33:54I'll tell you I'd hope
33:55You haven't met my landlady
33:56If she knew that you were here
33:58I do mean it
34:08You better go
34:10Uh
34:11I have my reputation to protect
34:14Hmm
34:15I think
34:16Well you've destroyed mine
34:21What's that?
34:23I have my pen
34:25Ilya?
34:26Napoleon are you all right?
34:28Uh
34:29I'm a bit disappointed
34:30But that'll pass
34:31Why do you ask?
34:32I tried to get you earlier
34:34No doubt before the disappointment set in
34:38Have you found anything?
34:40I'm not quite sure
34:42I may have destroyed the computer tab
34:45You what?
34:46Well our friend Adolf the backstage doorman
34:48He led me to it for a price
34:49But it was too easy Napoleon
34:51I think it may have been a decoy
34:52And if it was I have an idea where the real thing is
34:56What do you want me to do?
34:58Come to the theatre tomorrow night
35:00I hate to subject you to the performance again
35:04But you might be useful
35:05Shall I bring a few friends?
35:08Yes, it might be advisable
35:10And if I'm not on stage
35:11Look in Miss Lamontier's dressing room
35:13Oh, and uh
35:14You might get Mr. Waverly to feed some important misinformation into our computer
35:19Right
35:20Ilya! Ilya! He's not in show business, is he?
35:24Well that's debatable
35:26And you're not really a talent scout for LB
35:29What's his name?
35:30Uh, Sternmacher
35:32Yes
35:33No
35:34Hey! You must be a secret agent or something
35:37Something
35:38Well, maybe you shouldn't go after all
35:40I mean, wouldn't you like to tell me all about it?
35:45Well as a matter of fact, I'd be delighted
35:50Do you think you can do it?
35:52I'm scared
35:56No, I mean, I'm really scared
36:01It's for Uncle
36:02Oh, I don't want
36:04Adolf is back in the office with Machina
36:06So I should have enough time
36:08It'll be over in just a minute
36:13Oh, I hope so
36:15I hope so
36:25A mouse! A mouse!
36:26It's a mouse!
36:27It's a mouse!
36:28It's a mouse!
36:29It's a mouse!
36:30It's a mouse!
36:31No!
36:32No!
36:33You can't go in there!
36:34Where is Adolf?
36:36¡Suscríbete al canal!
37:06¡Gracias!
37:36¡Gracias!
37:38¡Gracias!
37:40¡Gracias!
37:42¡Gracias!
37:44¡Gracias!
37:46¡Gracias!
37:48¡Gracias!
37:50¡Gracias!
37:52¡Gracias!
37:54¡Gracias!
37:56¡Gracias!
37:58¡Gracias!
38:00¡Gracias!
38:02¡Gracias!
38:04¡Gracias!
38:06¡Gracias!
38:08¡Gracias!
38:10¡Gracias!
38:12¡Gracias!
38:14¡Gracias!
38:15¡Suscríbete al canal!
38:45¡Suscríbete al canal!
39:15¡Suscríbete al canal!
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39:19¡Suscríbete al canal!
39:21¡Suscríbete al canal!
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39:41¡Suscríbete al canal!
39:43¡Suscríbete al canal!
39:45¡Suscríbete al canal!
39:47¡Suscríbete al canal!
39:49¡Suscríbete al canal!
39:51¡Suscríbete al canal!
39:53¡Suscríbete al canal!
39:55¡Suscríbete al canal!
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40:01¡Suscríbete al canal!
40:03¡Suscríbete al canal!
40:05¡Suscríbete al canal!
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40:11¡Suscríbete al canal!
40:13¡Suscríbete al canal!
40:15¡Suscríbete al canal!
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40:25De todas las noches, no quiero ninguna desesperación aroused.
40:28Y si la performance necesita usted, estoy seguro que usted va a ser excelente.
40:32Me gustaría ver que me haga esto.
40:34No, no me gustaría que eso, creíme.
40:36Tú lo harás.
40:37Porque si no, nos vamos a matar a su amigo, Sr. Kuryakin.
40:50Charmante, chica.
40:51Me siento muy mal en la que le diga a ella.
40:54¿Qué es la lie?
40:56La lie.
40:57La implicación es que si se performa, se va a ser capaz de salvar tu vida.
41:04Janet.
41:05Janet, ¿dónde has estado?
41:07They just told me that Linda wouldn't be here tonight.
41:09Tonight of all nights, just when I persuaded him to come back and see the show again.
41:12Who?
41:13Paul Hastenbrook.
41:14I told him the show had been completely redone and he'd scoop all the other critics.
41:17But it hasn't been redone.
41:18But it's gel that has confidence, ¿no?
41:20You see, you're still going to think he's seeing a new show.
41:22Isn't it marvelous?
41:24It's come on your shoulders, Janet.
41:28This is your big chance.
41:30Tonight, tonight you're being gripped in the hands of fate.
41:33You understand it took some forceful persuasion to get these tickets for tonight.
41:47Yes, I suspect there's much shows sold out and all that.
41:52We've got men scattered throughout the house, just in case.
41:59Excellent.
42:01I hope there won't be any disturbance until after Curiochen's been on.
42:05I'm mostly eager to see him perform.
42:07Ladies and gentlemen, may I have your attention, please?
42:18Tonight, the part of Susan Everybody will be played by Miss Janet Gerard.
42:23Thank you.
42:24That should be a pleasant surprise for you, Mr. Solo.
42:27Well, I'm not at all sure about that, sir.
42:34Wonderful.
42:37Top secret personnel records of all Uncle Executives.
42:41I can assure you, we will make excellent use of this.
42:46And now, Mr. Curiochen, I think I go enjoy the show.
42:49I hope they will make do without a horn player, just as once.
43:10I march for love, justice, brotherhood, and art.
43:15I march for wit, knowledge, happiness, and heart.
43:18I march for good, kindness, diligence, and truth for the wisdom of age and the wonder of you.
43:25Stand up and shout.
43:26Stand up and march.
43:28You've got nothing to lose except your arch.
43:31Just stand up and march.
43:33Stand up and shout.
43:35If you want to learn what life is all about.
43:39It's not one of her better nights.
43:43Stand up and shout.
43:45Stand up and run.
43:46You will never guess who's trapped inside the tunnel.
43:51Stand up and march.
43:53Stand up and sing.
43:54You will find that friends are waiting in each wing.
43:58Excuse me, sir.
43:59Lost your nerve?
44:00Stand up and watch.
44:22Stand up andCheers.
44:24¡Vamos!
44:54¡Vamos!
45:24¡Vamos!
45:54Oh, trash people!
46:06We need you!!!
46:16Keep dancing. Keep dancing.
46:18It's better than unemployment.
46:24¡Gracias!
46:54¡Gracias!
46:56¡Gracias!
46:58¡Gracias!
47:00¡Gracias!
47:30¡Gracias!
47:32¡Gracias!
47:34¡Gracias!
47:36¡Gracias!
47:38¡Gracias!
47:40¡Gracias!
47:42¡Gracias!
47:44¡Gracias!
47:46¡Gracias!
47:48¡Gracias!
47:50¡Gracias!
47:52I don't recall ever being so stunned
47:54as by the total theatricality
47:56of the second act
47:58in which every physical and sensory means
48:00is used to embrace the audience
48:02in a memorable experience
48:04and saving the best until last
48:06Janet Gerrard's transformation
48:08from the nervous, off-key stereotype
48:10to a zany, wild-eyed Hoyton
48:12marks the arrival of a brand-new star!
48:16See it by all means, see it!
48:18Can you believe it?
48:20Oh!
48:22It's marvellous.
48:24Thank you, thank you.
48:26particularly so much.
48:28Thank you.
48:30It's so exciting.
48:34What will the audience do
48:36when they don't find a total sensory experience
48:38at the end of act two?
48:40Well, it's another old American tradition.
48:42Theatre audiences generally like
48:44what the critics tell them.
48:46Exactly!
48:47As a matter of fact,
48:48I've already decided to incorporate the fight scene
48:50into the show every night.
48:52Herbert and Marvin are writing music and lyrics for...
48:54Say...
48:56Now this is kind of an offbeat casting idea,
48:58but how would you two like to play yourselves in the show?
49:02Don't call us.
49:04We'll call you.
49:06You are so impressive!
49:07Well, it's good!
49:08I'm so proud!
49:09I'm so proud of you!
49:10I'm so proud of you!
49:11¡Gracias!
49:41¡Gracias!