No, I can't concentrate!
Maestro, I'm sorry, but I can't carry on like this.
Let's take itfrom number37.
Oh, my God! No! No!
Maestro, Iet's take it from ''Qui e aItrove''.
I can't stand it anymore!
- It's ridicuIous. - Poorthing, are you hurt?
It's ridiculous! This is ''Macbeth'' by Giuseppe Verdi.
l've neverseen such Iousy direction!
-We have a probIem? -Yes, you!
This isn't one of your crud movies! Birds on stage, bad projection!
ls this an opera or an amusement park?
How can l sing with a raven on stage that hates me?
- I can't imagine why it hates you. - Neither can l.
But it nevertakes its beady eyes off me!
lt shrieks, whistIes, flaps its wings.
- lt destroys my performance. - It's just a bird.
It shouId be with the other birds and not in the Opera singing ''Macbeth''!
Where is the manager Baddini?
- I'm here, Mara. - l'm going back to the hoteI.
Come on, Mara! Don't be like that.
l shaIl be ready to sing at 8:00.
Ready to sing without ravens and other nonsense, a real opera!
-What we do now? -Carry on with the rehearsaI!
If something like this happens again, I'Il take my ravens and leave.
Maestro, we'lI take it from where we stopped.
Thanks to you and your so caIIed brilliant and original direction!
The great Mara Cecova has been knocked down by a car!
QuickIy, call an ambulance!
Where is Betty?
- Hello? - Is that you, Betty?
Tonight you make yourdebut as Lady Macbeth.
-What? -Are you happy?
Who is speaking?
ls this a joke?
Come on, Betty! Get ready.
ln exactIy one hour you've got to be on stage.
Mara Cecova has had an accident.
Someone aIready caIled. I thought it was a joke!
Are you scared of making your debut?
No, but Lady Macbeth! l'm too young, my voice isn't right.
You'Il be a smash hit! A baby Lady!
l won't reach some of the notes.
l'm not onIy youragent, l'm yourfriend.
l know what you're going through, just opening-night nerves.
Don't Iet them show. Now they're alI coming to see you.
Don't show them how unconfident you are.
My dear Betty, are we ready?
Mara's unfortunate little accident
is going to speed you towards your destiny. You'lI be Lady Macbeth.
Do l see tears? Tears ofhappiness, l hope.
Don't telI me you're afraid. Afraid you'Il fail?
I'm too young forthe role.
Verdi's first Lady Macbeth was only seventeen!
You know the opera by heart.
I watched you atall rehearsals working so hard preparing yourseIf.
As though you were the star and not the understudy.
Don't worry about the orchestra. They only need half an hour's rehearsal.
Stop it, this is your big chance.
- l know. - Think of your mother.
She wouId be proud to see you in a great opera folIowing her career.
If peopIe Iike you, you'lI be singing in New York and SaIzburg.
What happened to Mara?
She got hit by a car orso l heard.
You're Iistening to Pokrovskij's recording of''Macbeth''!
Did you know it was a production of ours? 1975!
''Macbeth'' brings bad Iuck!
-Whatare you talking about? - Everyone says it.
''Macbeth'' brings bad Iuck!
l would much rather make my debut in something else.
Don't let Baddini hearyou say that!
You think the opera brings bad luck.
- It's whatever everyone says. - I don't say it.
You have a wonderfuI voice, you are very beautifuI
and you're making your debut in a great theatre.
You must make the most of this opportunity.
lt usuaIly only happens in the movies.
Don't throw it away!
Five, four, three, two, one.
There is too much smoke.
There is too much smoke.
Dino, cut the smoke!
The scar must be on the otherside!
- Betty goes on in another 2 minutes. - Ok, 2 minutes for Betty.
- Be careful, she could hurt herseIf. - Two minutes!
-What are you doing? - Leave it!
- No! Stop it! - Good Iuck!
-Gota light? -Yes.
I wanted three of them.
Be careful with the costume!
You finalIy returned!
What are you doing here? You are not allowed in here.
This box is for stage personnel only! Come on, Iet's go!
What the helI do you...
Keep going! It was an accident!
WeIl done, Betty! You're so beautifuI!
That's enough, Mara! Don't be childish.
-You're a star! -You realIy think so?
- Didn't you hear the appIause? -You were wonderful!
My sincerestcompIiments! You were sensational!
There'Il be a first night party Iateron.
-Thank you. -You were magnificent.
- Thank you, Maestro. -WilI you be at the reception?
- The press wiIl Iove it. -The press are here.
What about the accident with the Iights? The screaming?
-What screaming? -You didn't hear it?
lt came from one of the boxes!
Wasn't she great?
l know we had some trouble, but it has nothing to do with ''Macbeth''!
The onIy bad Iuck with ''Macbeth'' is about the use of fame.
l know, my mother was a singer.
Run along. PeopIe wiIl be waiting foryou.
l mean it! You were just fantastic! You were great!
I just love Verdi's music!
Oh, God! You were just wonderful!
That damned director! I can't take him anymore.
Do you work here in the theatre?
You are a fan of mine!
-The first! - First what?
- Fan! - Congratulations.
Thank you. You want an autograph?
Yes! I'd like that. Thank you.
-What name shaIl I... -Alan!
-Thank you. -Are you a foreigner?
They're aIl waiting for you, lnspector.
-You're a poIiceman, not a fan. - Can'ta policeman be a fan?
l'm notan expert on opera, but yourvoice...
Thank you forthat autograph.
-What'd the cop want? -My autograph.
Why is he here?
Maybe because of the accident with the lights.
One of the stagehands died. Pretty weird!
Leave your costume there. Mark says it needs a few aIterations.
l don't want to go to the party alone. WouId you like to take me?
Sure, l'd Iove to. You were great tonight.
Seems l'm the last one to congratuIate you.
Think I might have a kiss?
Even if I'm only the stage manager?
Did you reaIly like me?
l Ioved you!
From the great Mara Cecova.
-With her bestwishes. -Thank you.
The great Mara Cecova can say she was struck by the curse of''Macbeth''!
''Good Iuck, IittIe snake.''
You can certainly feel her sting there.
-What do you think it is? -Who knows?
Frog's lime? Acid?
Cecova would bathe in that stuff!
l'm sorry, I can't. lt's not yourfauIt.
l'm a disaster in bed. l don't know why. l'm sorry.
According to the legend, opera singers are incredibIy horny!
They say they make Iove before they go out on stage.
That sortof relaxes their voices.
Either l'm a Iousy opera singer or...
Have I offended you?
Now that you're famous, things are a bit different between us.
Don't say that, it's not true.
What a pIace! Looks like a museum.
It sort of is. I've got a rich uncle.
lt's his place. He Iets me use it whenever I need it.
- Do you want some tea? -Yes, please.
I've got rose,
jasmine or mint.
-Jasmine. - OK.
Take a good look! If you try to close youreyes
you'lI tear them apart!
You'Il have to watch everything.
Why'd you Iock it?
Are you feeIing okay?
What the heIl is going on?
It's not true you're frigid.
You're a bitch on heat.
- Hello? - There's been a murder
at 6666 ViaIe Pegaso.
My God! Look what success has done to you!
Come on! l wantto get the papers. I want to read the reviews.
Something's wrong with your eyes? Stage Iights?
Yes, the lights.
-What Iights? - It wasn't the Iights.
How do you turn on the heating?
- That bad, was it? - I can't teIl you.
lt was so... l can't teIl you!
-Trouble in love? - Love?
What love? Whenever a woman has a problem,
men always presume it's Iove!
You sopranos are famous for...
- ...whoring around? - Now wait a minute.
Look, I've aIready heard that story tonight.
Some peopIe think we make love before going on stage to improve the voice.
As faras I am concerned they are totaIly wrong.
You've never made love?
Of course l have.
Anyway, you aIso work in movies.
And you movie people are Iegendary when itcomes to...
That's true. I aIways jerk off before I shoot a scene.
You'II have to taIk about it soon or later.
And then I ran away and l found you.
The strangest thing about what happened tonight,
alI the terrible things l saw,
are from a nightmare l used to have as a child.
l used to dream of a man wearing a black hood.
- Tonight l saw that same hood. -You said you caIled the police.
- Did you give your name? - No.
ToId Mira then?
About what happened tonight? Yes.
Why, there's more, right?
I'Il check the other rooms.
Have you got a boyfriend?
-Someone who might get jeaIous? - Not that I know of. Why?
Someone is watching the windows with binoculars.
-Where? -Come and see.
He's gone. He was there underthe street lamp.
l could stay if you want me to.
Don't you have someone waiting for you?
She's probably having a fit because you're not home yet.
I'Il lock myseIfin. Don't worry.
Make sure you lock alI the windows.
l'lI look around in the street. lf I see anything suspicious
l'lI phone you. If not, see you tomorrow.
What is it?
There is someone out there!
Who is there? Who are you?
I live here.
- I'm one of your neighbours. -Was that man Iooking for me?
No. It's nothing.
l've told you, nothing!
-Who do you think she is? -A neighbour, like she said.
Put the chain on.
I don'twant to lose anotherstar.
Who is it?
ls that you, Mark?
Mark, is that you?
Oh, my God! Why did l sing that roIe?
I shouldn't have!
lt was myfauIt.
Why did l do it?
Don'tcry, Betty. Don't cry!
Stormy reception from ''Macbeth''.
''BriIIiant debut by young singer
who at the Iast moment substituted Mara Cecova.''
''RevoIutionary, butcrazy set. Doubts regarding the direction.''
''Advice to the director: go back to horrorfilms.''
They're pulIing you to pieces.
-At least it's onIy on paper. -And she, a totaIly unknown,
gets nothing but praise. - She was very good.
When they Iauded CeciIia Gasdia and blasted your direction of''RigoIetto''
you were very pissed off, but not this time.
You want to take the girl to bed, don't you?
To be here with you this evening, l took two flights
and turned down a fashion show.
Fragments of the same feathers mixed with traces ofblood
were found on a carpet in Stefano Brini's apartment.
-What was he? Your... -Stage manager.
Ah, yes, stage manager.
Killed, or rather, butchered,
last night between 1:00 and 2:00 o'cIock.
Who saw him Iast?
There was a first-night party.
- Did he leave alone? - l don't know. l wasn't there.
I see. Who did go to this party?
- Did you? -Yes, I did.
What time did he leave?
I think he left with Betty, our singer.
- ls Betty here? - No, butshe wiII be soon.
-We have to rehearse. - I'm not finished yet.
You are Maurizio, right? The one responsibIe forthe ravens.
- How many were kilIed? - Three.
lnspector, l know who kiIled the ravens.
-Who? - Mara Cecova hated them.
What are you taIking about? Don't be ridicuIous.
Ravens are very vindictive. They don't forget.
They rememberforyears and at the right moment...Zap!
This ''Macbeth'' has been hit by so much bad luck
and so many coincidences.
- It staggers the imagination. - I don't want you to think...
I'm a superstition type, but it's ''Macbeth'' that brings bad Iuck.
Everyone knows that.
l couId teII you about dozens of strange incidents.
A lot of peopIe believe the opera to be cursed.
I've seen a Iot of your movies. You are an expert in this field.
l'd be very interested to know your opinion.
lt's unwise to use movies as guides for reaIity, isn't it, lnspector?
It depends what you mean by reality.
l've gotto fix this dress before the next performance
and l've got onIy two hands!
With ten hands, the costumes wouId stiIl be a pile of shit!
AIright, Mister Genius Director!
l put most ofthe blame on ourfancy pants director here
who thinks Verdi was a twit and Shakespeare an asshole!
l'II fix the dress, but not foryou, for Giuseppe Verdi!
Let's get out ofhere.
-AlI this turns you on, doesn't it? -Whatare you talking about?
-You're a sadist! - RealIy?
Everyone who knows you says the same thing.
That must be boring forthem.
-Just the person l wanted to see! -What's happened to my costume?
Look at this mess. Someone tore it apart.
Someone who doesn't Iike the opera orthatasshoIe Mark's version of it.
This time he O.D.ed on weird.
It's not like movies, where you're congratulated on originaI ideas.
lt's got to be mended and without a dressmaker, it's up to me.
You'lI have to try iton again once I've finished.
We're Iucky though, most of this junk jewellery'sintact.
I'Il be back in a minute.
- Mira, l must see you. l'm frantic. - Me too.
My phone keeps ringing. Everybody wants you.
Rome, Vienna, Paris!
l have to taIk to you about something eIse. Something really serious.
A maniac is after me. l need youradvice on what to do.
l'lI give itto you now.
- Go to the police. - l can't.
I'm in terribIe trouble.
Mira, l must see you.
Alright, I'll come by this evening.
What have you done?
Is that you?
lt's you! Look!
- Look what l've found. -What about it?
It's gold! I neversewed any reaI goId on this. lt's yours.
l never saw it before.
- How did it get on my costume? - Don't know.
Maybe whoever ripped up the dress, dropped it.
Give me that!
lt Iooks like there's a date and an inscription.
- Let me see. - The letters are faded away.
I've got a magnifying gIass somewhere.
l'm sure I have.
lt should be in...
It shouId be here.
-Any luck? - No!
l'm positive I saw it!
Wait! It is in here.
Where is it?
-What happened? Betty? - l'm alright. Don't worry.
It's gotto be here. l saw it in a drawer.
You keep on Iooking here. l'lI check the ironing room.
l found it!
l found it. You enjoyed last night, whore!
You opera singers are aIl whores!
There's a date!
lt's an anniversary, l guess.
Where have you gone?
Oh, my God!
ls this what you want?
ls this what you want?
I'Il take you whenever
and wherever l want.
Let go of me!
Leave me alone!
These marks. Who did this to you?
Is this another manifestation of the curse of''Macbeth''?
Or did it happen Iast night?
So it did happen last night.
Why didn't you telI me?
it was worse than anything I could ever have imagined.
ljust wanted to cancel it from my mind.
Not see anything, not feel anything...
Not think anything, just getaway!
l understand what you're saying.
I'm here to help you, not to persecute you.
And I promise we'Il do our best to catch this man.
But I need your colIaboration.
I don't know what he looks Iike.
He ties me up.
Makes me watch, but he never Iets me see his face.
at the theatre he killed Julia, the wardrobe mistress.
-Christ! l'd betterget over there! - No, please!
Don't worry. We'lI get to the bottom of this. l'II be back.
Don't Ieave me alone! l'm afraid.
You go upstairs and Iock yourself in.
l'lI send you my assistant, Daniele Soave.
Daniele Soave, he'lI know whatto do in case of trouble.
-Who is it? - DanieIe Soave.
Did the inspectortell you I'd be coming?
Yes, he did.
Good evening. May I come in?
Yes, of course.
My eyes hurt, so l put some drops in them.
May l take a look around?
In a minute l'lI be right with you.
-Are you nervous? -A IittIe. No, a lot!
- I'm here, so you can reIax. - l wiIl, thank you.
I have a great system for reIaxing.
''You are feeIing very calm.''
''CaIm and reIax.''
''Concentrate...'' Only on the music.
- Did you calI, Miss? - No, l'm listening to a tape.
lf you need me...
l'lI get it.
-Are you expecting someone? -Yes, a friend.
-Check who it is before opening. - I know it's her.
ls that you, Mira?
I read the papers. How terribIe!
- l'm getting worse. - ls someone here?
Yes, Vienna and Paris!
The kiIler kilIed again. Julia. l was there!
Now l understand why the poIice are watching you.
Who told you that the police are watching me?
The officerdownstairs in the halI.
He asked me who I was and where I was going. His name is Soave.
Yes, that's right.
- But he's in the Iiving room. -Who's in the living room?
-You're not making sense! -Come!
-Who is he, Betty? - I don't know.
- He could be the maniac. - He's gone. He was in there.
Call the poIice!
The phone's overthere! I'm too scared to go in.
He may be hiding, waiting.
Let's get out ofhere.
What if this one is real and the one downstairs is the maniac?
What if it's the otherway round?
l've no desire to find out eitherway.
You're right. l didn't even get a good Iook at him.
It's a heavy door!
Knives, we can defend ourseIves.
l'd Iike to see him get in here now.
We can aIways scream. You are a singer. You can scream.
This buiIding is ancient. The walIs are 3 feet thick. No one would hear.
- Open the door. lt's Daniele Soave. - He's out there.
The maniac's in the apartment.
You could be the maniac.
l'm a cop. I'Il show you my identification.
- Can you see it? - No! l can't.
Waita second. Now you can see it.
Anyone can get one. lt's a fake!
No, come on. Let me in.
You're fooIing me. Go away!
Look, my gun. Police issue.
I saw you before. I know you!
I want to see yourface again!
You may as weIl open the door now!
One way or another, I'm coming in.
Son of a bitch!
You're not going to get me!
I'Il kiIl you!
''You are feeIing very calm.''
''CaIm and reIax.''
''Concentrate only on the music.''
So he was the poIiceman.
Quickly! CIimb up here.
Quickly! Come on!
-Where does this lead to? -To my apartment.
-What were you doing in here? - l discovered it.
It's the oId air conditioning system.
l can get to any apartment l want. Are you hungry?
No, of course not.
This apartment is empty. l watch you aIl the time.
- RealIy? - I like it when you sing.
-You have a beautifuI voice. -Thank you.
I watched that person trying to kiIl you tonight.
Why do you come up here?
- To get away when my parents fight. -So they hit each other.
Here we are.
He's gone! You were very clever!
You're the cIeverone! You saved my life.
lt's my mother.
Who are you? What are you doing here?
- lt's you! - Mom, this is Betty.
- Do you remember me? - No, I don't.
Last night you were outside my apartment. You didn't see me.
Something terrible has happened.
Yeah, you coming in here. Did you Iet her in, AIma?
-Yes, she did. - She's my friend.
- l have to caIl the police! - Get out ofhere.
- She's my friend! - Shut up!
Where's the phone?
Alright, I'm going, but you calI the police.
You're so filthy! Disgusting!
You're disgusting! You're aIways naked!
That's enough! Go to your room!
What are you doing here?
Mark! Did you hear what happened?
l phoned yourapartment and spoke to a poIiceman.
- l didn't think you'd come here. - ljust wanted to run.
Hide! Everywhere scares me
except here! l feel safe here.
- l'lI sIeep in my dressing room. - Betty?
There'll be a Iot of noise. The stagehands are working.
- l've made a change in the show. -What change?
Don't worry about it, but I thought of a way to identify the killer.
l don't know why I didn't think ofit before.
We have an eye witness.
If the maniac is in the audience tomorrow night,
I've got him!
-What ifhe doesn't come? - He'Il come.
l'm so tired, ljust wantto sleep.
Achance to dream, huh?
Ay, there's the rub, for in that sleep of death
what dreams may come, when we have shuffIed off this mortaI coil,
must give us pause.
ls thatyou, mommy?
I just had the same nightmare that l used to have when I was a chiId.
But I can't decide whether it'sjust a dream
orthe memory of something that realIy happened.
What do you think ofit?
Relax! Everything is fine.
We'll get him.
- But when? -Any time now.
Any time now.
Is this supposed to happen?
-ToId you we'd get him tonight! -You're a genius!
lt's the policeman!
Why on earth wouId he do it?
Not a sound!
Just like your mother.
Your voice's the same as hers.
Even yourskin. Oh, God, how much l...
I don't want to kiIl you.
She taught me that little game,
kilIing, torturing and then I wouId have her.
l was her slave! Come...
I saw you Iast night.
l thought it was a miracle.
There is something inside.
You aren't a star Iike she was.
Betty? l wantyou to stay alive.
The people don't understand.
Now it's alI over.
How can you love me Iike this, a monster?
l don't want you to watch me anymore.
lt's better I die.
I want to burn. No one must ever find me.
No one must ever find me.
l want to disappear.
l want to disappear.
Are you afraid? l am.
I'm afraid of pain.
WiII you help me? Here!
Yes, now down a little, to your Ieft.
Now to your right.
A little higher. Now shoot!
Shoot! lsn't what l've done to you enough?
You need more? Alright.
I'Il give you more.
l strangIed your mother. She was too greedy, she wanted more crueIty.
She wouIdn't let me touch her! That fiIthy whore!
And you know what?
l can't get out!
l can't get out!
l can't get out!
Paris means a Iot to me.
We'lI make this ''Traviata'' unbelievable!
How do you want to pIay her?
Tender? Timid? Sensual?
I don't think the problem exists any Ionger.
I knew it!
There is a surprising deveIopment in the caseof the crime at the Opera.
You may remember the report that the maniac inspector, Alan Santini,
died in the fire that destroyed one wing of the theatre.
The police now inform us that the remains of the body
they had presumed was Santini's, are not in fact human atall.
-Oh, my God! -But those of a theatricaI mannequin.
The authorities realize
that Santini pIanned this dramatic coup de theatre
to give himseIf time to escape.
A nationwide hunt is underway for Santini
who is considered to be extremeIy dangerous.
The police forces and InterpoI are giving theirfulIest cooperation.
Betty, he's not dead! He's aIive!
He's here! Run! For God's sake, run!
l am Iike my mother. l realize it now.
I wanted you to win, to kiIl him.
l'm exactly like her!
Come, we must get away.
Before someone finds the body!
Come, Iet us go!
- There he is! HoId yourfire! - Grab him!
It's not true! I'm not like my mother!
Nothing Iike her! Nothing ataIl!
I didn't commit any crime!
I justwanted to set theirsouIs free!
Let me kilI him!
l want to kiIl him!
He wanted to kilI you, huh?
- Did you know we were coming? -Yes, I did.
I saw yourdogs running through the trees.
-We've been on his trail for2 days. - l saw you taIking to him.
What did you telI him to stop him from kilIing you?
Nothing. A Iot of nonsense! Lies!
He's a madman, totalIy crazy.
I no Iongerwanted to see anybody.
I wanted to escape altogether because l'm different.
I don't even vagueIy resemble others, any of them.
l Iike the wind. ButterfIies!
Insects! The rain!
There, my beauty.
O Brother Where Art Thou
O Homem Que Copiava 2003 CD1
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Original Sin CD2
Oscar and Lucinda 1997
Osennij marafon - Autumn Marathon 1979
Oso Rojo Un
Ostrov Sokrovisch (Yevgheny Fridman USSR 1971) CD1
Ostrov Sokrovisch (Yevgheny Fridman USSR 1971) CD2
Our Lady of the Assasins CD1
Our Lady of the Assasins CD2
Out-of-Towners The (1970)
Out To Sea 1997
Out for Justice 1991
Out for a Kill
Out for justice
Out of Reach 2004 I
Out of Reach Rescue The
Out of Sight Collector Edition
Outlaw The (Howard Hawks 1943)
Outsiders The (1983)
Over the Rainbow
Ovosodo (Paolo VirzÍ 1997)
Owl and the Pussycat The 1970