All language subtitles for Crazy Susie 1996--

Ah!

- I left my home
down on the rural route

I told my pa
I'm going stepping out

And get the honky-tonk blues

Yeah, the honky-tonk blues

Oh, Lord, I got 'em

I got the honky-tonk blues

Well, I went to a dance
and wore out my shoes

I woke up this morning
wishing I could lose

Them jumping
honky-tonk blues

- Well, Goldie Hill's
about done.

I'm going to go out there
and introduce you next.

You just come on out
and tell the boys

what you're going to play.

We'll take it from there, okay?

You nervous?

Good.

- Go on, hoss.

- You got one shot
at the big time.

You mess this up,
you're going to be back home

pissing in a bucket
the rest of your life.

But if you play good,

boy, it's a whole new world.

- Oh, Lord, I got 'em

I got the honky-tonk blues

- You still nervous?

- Hey, cutie.

- Goldie Hill,
ladies and gentlemen.

Isn't she a peach?

Well, now I would like
to introduce you

to some fine guitar playing...

- First time out there, boy?

- Yes.
Yes, sir, Mr. Williams.

- What's your name, son?
- Hank.

- Worked for me.

- Terrible waste of talent
to leave him there.

So we combed his hair...

- Well, listen, Hank,
you go out there,

and you let 'er rip,

because the crowd's a sucker
for a fast song.

- Yes.
Yes, sir.

- So let's give
a big Grand Ole Opry welcome

to the youngest cotton picker,
Mr. Hank Garland.

Hank, come on out here, son.

Let the folks
have a look at you.

Well?

What's it going to be?

- It's a boogie.
Key of E.

- Boogie.
Key of E.

- I might go a little fast.

- Oh, he might go a little fast.

- Play it, Hank!

Give it up for Hank!

- Ugh!

Ugh!

- Hey, sweetie.

- You still interested
in knowing my name?

- I'm interested in knowing

everything there is to know
about you.

- Susie.

- Nope.

- Nancy.

- Uh-uh.

- Rita.

- Uh-uh.
- Marianne.

- Mm-mm.

- Susie.

- You said that one already.

- Well, you know, sweetie,

my sensory perceptions
usually work a lot better

after, you know, a kiss.

Gives me insight.

- Maybe later.

- Well, I hope not
too much later.

There's a lot of other girls'
names I could be guessing.

- Hank.
- What?

- If I told you
I never do this,

would you believe me?

- What sort of thing is it
you don't do?

'Cause you seemed to be doing it
all last night.

- Shut up.

Gol, you're so damn cute.

- What I meant was,
I don't go backstage at the Opry

looking to screw some star.

- Star?

You must have me confused
with somebody else.

I ain't no star.

I'm just a session player--
sideman of the stars.

- Mm-mm.

You're becoming a bona fide
celebrity around here.

They say you're the best
guitar player in Nashville.

- Well, I think you've got me
confused with someone else.

I'm Hank Garland; I'm the best
player in the world.

And parts of Nashville.

- Jesus, Copas.

You need to get a quieter horn.

- Maybe you need
to start drinking

a better brand of whiskey.

- Don't you rob me blind now
when you lie down.

- Is that what
the last girl did?

Did you at least
know her name?

- I know your name, sweetie.

I'll get it right next time;
I promise.

Bye.

- Bye.

- Best move over, Copas.

- Kiss my ass, Hank.
You ain't driving this car.

- You drive like an old woman.

We'll never get
to the studio on time.

- It's a new car, Hank.
- Open the door.

Let me drive.

- Hank!

- Watch out for those people.

- Hank, don't you do it.

- I think
you might want to pull over.

- Be careful.

- And I've tried,
and I've tried

But I haven't yet

You walk by

And I fall to pieces

I fall to pieces

Each time someone
speaks your name

- No, Hank.

- Come on, now.
Listen to it.

- Will you--
will you leave it alone?

- Look, if Tommy comes in
before the bridge--

- It's what?

- It's going to sound like shit.

How can you not hear that?

You got the bass stepping
all over everything.

- What are you--

No, okay?
It sounds fine.

- It doesn't sound fine.
Listen to it.

- What do you want, Hank?

We just get rid of
everything else

so all we hear is you?

- No, but you got Roy Orbison,

the sweetest voice
in the whole world,

singing your song,
and you can't hear it

because this guy
over here's going--

- All right.
Show's over.

Take it back to you, Tommy,

and we'll just pick it up
at the top of that second verse.

- Fuck you, Jerry.

If I thought
it'd make any difference,

I'd come in there and shove this
guitar up your tone-deaf ass.

- Now, Hank, let's just finish
what we're doing.

- I mean, seriously.

Whose dick did you suck
to get this job?

- Son of a--

- Get the hell off me!

- Hey, come on, guys.

- I'll show you
who's sucking one around here.

- Come on, Jerry.
Get off.

- Come at me, boy!
Come on!

- Hey!

Somebody want to tell me

what the holy hell's
going on around here?

Well, I guess that's what they
call creative differences, huh?

Look...

I'm paying Jerry
a whole mess of money,

not only to make sure
this record sounds good

but to get it done on time.

Now, he can't do that
if you two

are going to be wrestling
in the studio.

- And all I'm trying to do
is make sure it gets done right.

- Well, all I'm trying to
tell you is that ain't your job.

You're a hired gun, Hank.

Just play your part
and shut your mouth.

- If I lay something down
in there that ain't 100%,

I look bad.

I've got a reputation, Ryan.

- Huh.

Well, Hank,

I got a reputation too,

and I'll be damned
if I'm going to let

some hick guitar job--

- Hey!
- Uh, Hank?

Could you excuse us?

- Sure.

- Hey, Roy.
I'm sorry about that.

- I'm not taking sides on this,

but the contract
that you and I signed

says I can pick
the musicians I want.

- That's right.

- And I want Hank.

If it comes down to a choice
between him and Jerry,

well, Hank is going to stay.

- That's your call, Roy.
- Mm-hmm.

- That's your call.

I'll take care of it.

- Hey, Roy,
I didn't mean to--

- Don't ever put me in
that kind of spot again, Hank.

- You got it.

- Hank, Hank, you can't go

pissing in the wind
with the labels.

Now, you make a decent living
doing what you love.

Be goddamned grateful,
will you?

- Well, it's either that,
or you ain't got a career, Hank.

They'll lock you out.
Never work in this town again.

I've seen it happen.

- They're not
going to shut me out.

They need me.

Even that shithead Bradford
needs me.

- Yeah, well...

Whatever you think
the worst is,

it's really ten times that.

These redneck studio boys
have muscle, Hank.

On the house, fellas.

- Thanks, Jimmy.
What's the occasion?

- A little bon voyage.

I'm going back to Chicago,
taking the family.

I'm going to visit
the old neighborhood,

get away from the cowboy faggots
for a while.

- Here's what we need:

Let's go on tour
for a few weeks,

give Hank a chance
to cool his heels out of town.

- Hell, Hank can get
in as much trouble in Biloxi

as he can here.

- Well, look, if we go back
out on the road,

we got to see some new places.

I've seen Macon/Montgomery
too many times.

Maybe we could hit Chicago.

New York.

Hey, Jimmy,
they got honky-tonk music

where you're from,
don't they?

- Sure, they got places
you can play your giddyap shit.

But they got real music too.

Southside blues
would melt in your mouth.

Some hotjazz.

Zippity dippy zi

Dit dooby dooby dooby doo

Ah, you'll love it, Hank.

- Well, all right, then.

Let's go on the road.

- Hank.
Hank.

You plan on
checking in tonight?

Uh, Hank, we're going to
head over to the hotel bar.

You coming?

- Ah, I think I'm going to do
a little exploring of my own.

- Okay.

Well, if you get lost,
just head north.

If you fall into Lake Michigan,
you've gone too far.

- Check it out.

- Hey.
Look at country.

- You need something?

- A beer.
Whatever's cold.

- If you don't mind my saying,

you look a little lost, man.

- I may be a little lost.

They don't have many clubs
like this where I'm from.

- Oh, they probably got 'em.

You just ain't never seen 'em.

- No, not with players
like that.

- Oh, yeah.

I don't care
where you come from,

you won't find no one
who can grind the ax like Wes.

- Wes?

- Wes Montgomery, man.

You picked a damn good night
to come in, cowboy.

- Yeah.

Yes, sir.
Yes, sir, I'll be right down.

- I just need another key.

I want to go to my room.

- What's your name, sir?

- It's Byrd.

He's seen me here.
I know he has.

What is--this is bullshit.

- Well, sir,
there's no need to get upset.

- Hank, tell these cocksuckers
I'm staying here.

- Mr. Garland,
do you know this man?

- That's Billy Byrd.
He's staying down the hall.

- Well, he's been creating
a disturbance

throughout this hotel,
using language that--

- Language?

I'm speaking English,
you dumb cocksucker.

- Sir, that is the last time
you call me cocksucker.

- Let go of me, Hank.
Let me kick his ass.

Ow.
Ow.

Ow.

- What is he talking about?

- Maybe we should
get you to bed.

He's not usually like this.

He's out of town, you know?
Things are going kind of--

- You--
bring that bell back.

- Come on, Hank!

- Not bad.
- Yeah.

- You need help, seat kicker?

No, uh-uh.

- Sweet dream baby

Sweet dream

- You're such a smooth
guitar player;

you aren't much of
a conversationalist.

- Sweet dream baby

- Yeah, I can usually talk
a pretty mean game,

but that was a tough crowd.

- That's a neat trick
you've got.

I bet that works all the time.

Those sweet little
hillbilly girls

with their perky tits,

come backstage wanting
to spread their legs for you,

because you're the only man
for miles who's bait that night

and has on an...

almost clean shirt.

I know how things work
down there.

You're not going to try out
some of your backstage lines

on little old me, are you?

- No, ma'am.

Besides,
I don't think they'd work.

You like look you've got plenty
of your own lines.

- Try me.

What do you do?

Do you tell them

that they're the prettiest girl
in the county?

Let them touch your guitar?

- Sometimes.

Lately, though, I've been trying
to guess their names.

That's always fun.

- Oh, so guess my name.

- All right.

Well, um...

- Your name's...
Evelyn.

- How did...

who told you?

- I just guessed.

- Oh.

- Wow.

You know, I didn't even really
think you liked me at first.

- Who says that I like you?

- I said,
"A man that looked that good

and played the guitar like that
must be great in bed."

- Dream baby,
got me dreaming sweet dreams

Nighttime too

I love you,
and I'm dreaming of you

That won't do

Dream baby,
make me stop my dreaming

You can make my dreams
come true

Sweet dream baby

How long must I dream?

Dream baby,
got me dreaming sweet dreams

The whole day through...

- That's so pretty.

- Baby, everything I play
is pretty.

It's just with you in the room,
it doesn't seem like it.

- Put down the guitar, Hank.

- Hang on.
Just a minute.

- You like that thing
more than me, don't you?

- No, I've just
known her longer.

- Are you going to miss me
in New York?

- Baby, I'm gonna
miss you so bad,

they're going to have to
lock me up in the loony bin

and throw away the key.

- I'm being serious.

- Well, I'm being
serious too, babe.

Yeah, I'm going to miss you.

- I looked on a map.

I mean, Nashville
doesn't look that far.

- Oh, yeah?

You coming to Nashville?

- Only if I'm invited.

- Baby,
you come to Nashville,

and you'll own that town.

They're gonna write a million
songs about you, Evelyn.

Damn, Copas.

Ain't that
the queerest looking sailor

you ever seen in your life?

You can practically hear him
swishing from here.

- What'd you say, hop along?

- I said you come down
the wrong alley.

The one where you get
the cheap hand jobs

from the college boys
is two down.

- Well, I heard
you give 'em for free.

- Hank, we don't want
any trouble, huh?

We got three days' leave

so we came to see you play
that hillbilly music.

- L, this is
my brother Billy.

- Oh, you son--

- Wait.
This is Billy?

- So we're out in the middle
of the Yellow Sea...

- The Yellow Sea?

- Yeah, it's not
really yellow, honey.

It's just over there in Korea,

except they call it
the Huanghai.

- How's the food?

- The food--

the food is delicious
over in Korea.

You like dog or monkey?

- Young un, can I talk to you
for a minute?

I'll have him right back;
I promise.

Look, I got you the best room
in the house

in case you need some,
you know, privacy.

- Well, I sure do
appreciate that, big brother.

- Good night.
- So will she.

- Uh-huh.

Good night.

- Ah.

So where were we?

- They said this was your room.

- They got it right for once.

- I was wondering
if you might want,

you know, some company.

I really like your playing.

So I really like you.

- Mm.

Wow.

See, there's this girl
back in Chicago, and I...

- Oh.

You can think about her
while you're with me.

I don't mind.

- Well, now,
that is a hell of an idea.

I don't know why
I didn't think of that.

I tell you what,
fair is fair, so...

if there's anybody
that you want to think about

while you're with me,

well, then I guess
that's all right too.

- There's a moon out tonight

Let's go strolling

There's a girl in my heart

- See, Nashville's
a tough place.

You got your studios,
you got your record companies,

and you got
your musicians' union.

They're all tight;
they all work together.

Call them the Dixie Mafia.

You play ball their way,
or you don't play at all.

- You having trouble?
- No.

It's nothing I can't handle.

But I want to do more, man.
I want to do the big stuff.

I want to own my own music.

I don't know if you know this
about me, though,

but I tend to rub people
the wrong way sometimes.

- You don't say?

- But you, Billy,

beautiful little baby brother,

you could sell turkey feathers
to a peacock.

They love you.
Everybody does.

- What are you
getting at, Hank?

My food's getting cold.

- When you get out of the Navy,

why don't you come to Nashville,
help me out?

We go into business together.

We can own the music.

- Be like--
be your manager?

- No, man.
Be my eyes.

I got the hands.

We can take care
of each other, Billy.

You're the only person
I trust.

I need you to be my eyes.

- Hey, Neal.

- Hey, Hank.
Come on in.

How many hit records today?

- Oh, five sessions.
Probably four hit records.

- What happened
on the fifth one?

- It was just after the lunch.
The drummer was a little groggy.

- Hank, you know Ryan Bradford,
don't you?

Dunbar Records?

- Sure.

- Ryan was just telling me
how he's looking to find

some studio time for Elvis.

- He wants you to play
on the session.

The Colonel told me Elvis said

you were the finest
guitar player he ever heard.

- Here, these are for today.

- Standard release form, Hank.

Just sign on the bottom.

- You know, that last piece
for Tailor Records,

I did most
of the arranging on it.

- Well, that explains

the extra hour you took
in that session.

- What I'm saying is,
I did more writing on it

than whoever's going to get
credit for it.

- How many times
we got to do this dance, Hank?

I mean, you get paid
as a writer,

or you get paid as player.

Now, you can't have it
both ways.

- Well, why not?

- 'Cause it's always been
that way.

It was that way
when you asked me last month.

It was that way

when you asked me about it
two years ago.

And it's going to be that way
when you bring it up next week.

- What I'm saying is,
when you take what I make

and you take
what a writer makes,

it doesn't add up.

Somebody's getting rich
off my work.

- Well, if it's
such a big deal, Hank,

don't sign the release.

- What happens if I don't sign?

- You don't get paid.

- Yeah, I've been
missing you too.

- I know how
we can take care of that.

- Yeah, that sounds
like a good idea.

- It would be nice
to see you again, Hank.

- All right, you too.

- Hi.
- Hi.

- Welcome to Nashville.
- Thank you.

Two whole weeks.

What are we going to do?

- I don't know.
I'm sure we'll find something.

- I can't stop loving you

I made up my mind

To live in memories

- Well?

You did it.

You don't deserve her.

- I swear, Billy, sometimes
it's like I can't even breathe

without her around.

- So I'll just live my life

In dreams of yesterday

Those happy hours

That we once knew

- Well, congratulations,
you little shit.

- Thanks, Pa.

- Kitty's singing real pretty
for you, Hank.

- You know that amp you owe me?

- Yeah?

- Let's say we have your wife
work it off and call it even.

- Jesus.
Get out of here.

- I ought to congratulate
you too, cousin,

but I'm way too jealous.

- Thanks, Byrd.
That's real sweet.

- No, Hank,
I'm jealous of her.

I love you, Hank.

Come on, give me a kiss.
Just a little one.

Evelyn don't even
need to know about it.

- Hey, cut him off!

- Live my life

In dreams of yesterday

- Hey, hold that for me.
- Go on.

- I was waltzing
with my darling

To the Tennessee waltz

- Fold into me, babe.

May not be like this forever.

- I want it to be.

I really do.

- My friend stole
my sweetheart from me

- It's a whole new life.

- Oh, I remember the night

And the Tennessee waltz

Only you know...

- Well, shit.
I mean, I ain't surprised.

You're a great player, Hank.

That is the biggest name
in the biz.

You'll like playing for him.

Christ, now I got to find
another guitar, hmph.

- Well, Byrd's not out
with Tub right now.

You could hire him.

- That lush?

I like to hire guys

I know won't pass out
or piss themselves

in the middle of a set.

Sure you won't stick around
for a couple weeks, Hank?

- No, no.

He's going on the road
with Eddy in four days,

and then he's in the studio.

He's got Eddy's TV show, so...

- Ain't wasting no time.

I mean, he can probably
pay you more than I can.

- It ain't about that.

I just don't want to feel
like I'm sitting still.

- Is that what we were doing?

Hell, I thought
we were doing pretty good.

But--

it was good
playing with you, Hank.

- You too, Lloyd.

- Well, hello and good day
to all you folks

listening to WACN in the a.m.

It's a beautiful
Tuesday morning,

and sitting across from me

is the equally beautiful
and charming Ms. Evelyn Garland.

Say hello, Evelyn.

- Hello, Nashville.

- Evelyn is the wife
of our very own Hank Garland,

who many of you know

is one of the best
guitar slingers anywhere,

and Evelyn was nice enough
to stop by to introduce

one of the records
her husband played on.

So, Evelyn,
if you'd be so kind...

- This is one of my favorites,

and I hope
it will be one of yours.

It's with Elvis,
and it's called Such A Night.

And, Hank, wherever you are,

I love you, baby.

- It was a night

Ooh, what a night it was

It really was such a night

The moon was bright

Oh, how bright it was

It really was such a night

The night was alive
with stars above

Ooh, when she kissed me

- Honey.

Hey, I thought
you were going to listen to me.

- I did listen to you.

It sounded so damn cute,
I almost kissed the radio.

- What radio?

- The one in the car.

- You don't have a radio
in your car.

- I know.

But you got a radio
in your car.

- Oh, my God.

How?

- Baby, I signed
with Eddy Arnold.

Just about afford
anything you want.

- Really?

Ah!

Oh.

Oh, baby.

- I go out walking
after midnight

Out in the moonlight

Just like we used to do

I'm always walking
after midnight

Searching for you

I walk for miles
along the highway

Well, that's just my way
of saying I love you

I'm always walking
after midnight

Searching for you

I stop to see
a weeping willow

Crying on his pillow

And maybe he's crying...

- It's probably two weeks,
three at the most.

- I'll be fine.

- I know, baby.

Hey.

I've never left anything
or anyone at home before

when I went on the road.

Just doesn't feel good
saying good-bye like this.

- Then don't go.

I mean,
just stay here with me.

Don't leave me.

Don't go.

- Ev, I have to.

- I know.

- It's my first--
- I know.

As long as I know
you're coming home to me,

everything is going to be
all right.

- Well, you never
have to worry about that.

- Okay.

- Because I will never
leave you.

I will always come home
to you, Ev.

- What?

- Are you fucking other women?

- What?

No, I'm not fucking
other women.

- You're lying, Hank.

I know that you are.
I have proof.

- What kind of proof
do you have, Evelyn?

- I have friends out there,
and they've seen you.

- Look, I want you
to listen to me right now.

I'm in love with you, Ev.

I just married you.

I'm not seeing other women.

- I'm warning you.

Don't embarrass me.

- Oh, look it's the middle
of the night.

What the hell's gotten
into you?

- I'm sorry.

I'm just so lonely.

When are you coming home?

- I'll be home
in a couple days, okay?

- Okay.

- M'kay.

- Baby.

I missed you.

So much.

- I missed you too.

You're a sight.

- Well, let's go inside
and make up for lost time.

- You're going to have to wait
on that, babe.

Kid's in town.
I got to go to the studio.

- But you just got home.

- But Elvis is the king, baby.

- Amazing grace

How sweet the sound

That saved a wretch
like me

I once was lost

But now I'm found

Was blind

But now I see

I see Hank Garland
sneaking in the door.

How are you, Hank?
Good to see you.

What's that
you're playing, hoss?

- Oh, it's just a little
something I warm up with.

Gotta stay loose, Elvis.

- Loose, man.
You're loose.

Sounds like a hit record.
You ought to record that thing.

- Thank you.

And now, folks, it's time
for what's become

one of the most popular segments
of our show.

This is where we highlight

one of the best guitar players
anywhere--

our own, Hank Garland.

Come on out here, Hank.
Show us what you got.

- Thank you, Eddy.

I've got something
for you tonight

that I'm sure
you're all going to enjoy.

It's a song I wrote called
The Sugarfoot Rag.

- Here's to having
a hit record.

all: Yes.

- Amen.

- Cheers.

- And here's to the pricks
who paid for the champagne

but wouldn't even talk to me
last month.

- Here's to you,
miserable pricks.

- Must you talk like
a truck driver?

- No.

I must talk like

the man who's got
the number five record

on the Cashbox charts.

- That's right,
and it's going to stay that way

from now on, Hank.

We got three different
record companies lining up.

- I'm not sure
what the big deal is.

The song's just
Hank's old finger exercises

strewn together with Red here
singing over the top of 'em.

I coulda done that.

- Byrd, maybe you
shoulda done it.

- No, it's not
that simple, Byrd.

There's magic in those fingers.

- Evening, folks.
Sorry to interrupt.

Just want to offer
my congratulations.

Sugarfoot Rag.
Whoo.

How about that?

Hank?
- Ryan.

- We sure do
appreciate it, Ryan.

- Anytime, Billy.

- Yes, it's awfully nice of you.

- You must be
the famous Mrs. Garland.

- Please, call me Evelyn.

- Evelyn.

You know, you're even more
beautiful than what people say.

- Thank you.

- Hank, you're one
fortunate son of a buck.

How you get so lucky?

Talent, hit record,
beautiful wife--

did you make a deal
with the devil?

- Well, I will not lie.
It was discussed.

I wouldn't sign
the release forms.

- All right, I'm keeping you all
from your dinner.

Hank, we got to work
together again.

Put our differences behind us.

- Real good, Ryan.

- All right.
Glad to hear it.

Red, you're still the man.

Evelyn.

- Well, that was interesting.

- You look so beautiful.

- Sometimes I can't take
my eyes off you.

I don't want you
to talk to him again.

- Talking to who?

- You know
who I'm talking about.

- Hank, you're being--

- I don't want you to.

- Not ever.

You understand me?

You understand?

- I understand.

- That's my girl.

Come on out
whenever you're ready, okay?

- That's not Spanish, Billy.

- It don't sound like it,
but believe me, that's Spanish.

- Uh, excuse me, Billy.
Can I talk to you for a second?

Excuse us, Gail.

- Don't go nowhere.

- Listen,
I've been hearing things.

- Oh, really?
I've been hearing things too.

What kind of things
you been hearing?

- The bad kind.

Your brother's pissing
some people off,

people who normally don't have
a lot of patience

when someone's pissing 'em off.

- Yeah, he does that, Jimmy.

- Yeah, but it's getting bad,
Billy.

He's playing
with these colored guys

at Printers Alley twice a week,

and that ain't going over
so well.

- Christ.
No one cares.

It's just another excuse for--

- These guys
don't need an excuse,

especially with a hothead
like Hank.

Look, I'm just telling you
what I hear.

You keep an eye on him, huh?

And if you need any help,
you'll let me know, huh?

- All right.
Thanks.

- So my mom called.

She asked if I wanted to go

and stay up north with her
for a while.

- Yeah?

That might not be a bad idea.

- Hank.

I feel alone in this.

It's not fair.

We're supposed to be a family.

- And we will be.

- You're never here.

You're not with me
when you are.

You're in your study
with the guitars

and that electronic shit,

or you're playing
in that dirty club all night.

- Look, I can't do this
right now, Ev.

I mean, the fellas
are gonna be here any minute.

- I know.

I know.

There's always something else
that you have to do

when we need to talk.

- How about if I bring
something real nice back for you

from the road?

- Sweet!

Yeah, Joe.

- Stick around.

Hank, come on up.

I want to introduce you
to fellas:

Paul Desmond,
Dave Brubeck,

Joe Morello,
and Joe Benjamin.

- Hey, Evelyn.

- Byrd.

- Is, uh...

- Hank's not here.
They're still on the road.

- Oh, I thought--
I thought he'd be back by now.

- They extended.
East Coast.

- Well, good on--
good on him.

That's great.

How you doing?

You, uh...
is it gonna be a boy?

You going to have
a little guitar player?

I don't know.

- Hey, you think it'd be okay
if I came in for a minute?

I could really use
a cup of coffee, you know?

- I don't think
that's a good idea.

- Yeah.

Yeah, I'll--I'll just--
I'll come--

come back by when he's home,
I guess.

- Actually, Byrd,

I'd appreciate it
if you didn't.

- I-I-I understand.

Uh, yeah.

- Good-bye.

- Ugh!

- That's it, Joe.

- She's so little.

Hey.

- The right time
to rock the night away

Jingle bell time
is a swell time

To go gliding
in a one-horse sleigh

Giddyap, jingle horse

Pick up your feet

Jingle around the clock

Mix and a-mingle
in the jingling feet

That's the jingle bell

That's the jingle bell rock

- Cut it!

Goddamn, that's the real shit!

If that's not a certified hit,

I'll kiss every ass
in this room.

That's a great song
you two wrote.

- Well, if you say so, Jerry.

To tell you the truth,
it feels kind of silly to me.

- Silly?

You watch what old Jerry does
with this baby.

Let me tell you something,
Bobby Helms,

it's going to go gold
before you even leave the room.

That silly song is going to pay
for Hank's little girl

to go to Vanderbilt someday.

What a fine time

It's the right time

To get rich every day

- You looking for a fare
in my drive, Byrd?

- I was just
in the neighborhood.

- It's good to see you.

You don't come
around much anymore.

How you been?

- You know,
I'd like to come around, but...

How's your family?

The little girl?

- Cheryl?
She's beautiful.

- Cheryl.
That's real pretty.

I want you to take this, Hank.

- Well, I got one
just like it, Byrd.

Remember,
we designed it together.

The Byrdland.

You losing your wits?

- This Byrdland's the most
beautiful thing I got left.

I want you to take it
for me, Hank,

until I can play again.

If I can get
my hands on it, I...

I'm just going to sell it.

I really don't want
to sell it, Hank.

I used to be
a pretty good picker.

I could play darn near anything
they asked me to.

And then you come along...

- Byrd, you just need
a break, man, to...

maybe we can get you
some session work or something.

- Yeah, thanks, Hank,
but, um...

I got a few more rounds tonight,
so I should probably--

probably just get going.

- Hey, it's a simple
fucking question:

Are we getting paid or not?

- It's not that simple.

- Look, Jingle Bell Rock
made millions.

Me and Bobby wrote it.
We should get paid.

That's pretty simple.

- Hank.

You and Bobby were both signed
as artists, not writers.

You've been paid.

- Well, then who wrote
the song?

Who fucking wrote the song?
Billy, come on.

- Hold on.

Jerry, you said on that day
that Hank and Bobby wrote it.

- It's not up to me, Billy.

I don't own the label.

I just produce this stuff
as best I can

and hope somebody will give me
the chance to do it again.

- Who do we go talk to then?

- Jesus, not me.

I just run a recording studio.

I don't know shit.

- You got to go down
to Music Row

and deal with the company.

- Oh, be sure to let Mr. Brad--

Mr. Garland, you can't--

- Hank, hey.

- You motherfucker.

- What the--

What--

- You steal from me,
you son of a bitch!

- Hank!

Get off of him.

- Get your goddamn hands
off him.

- You are done!
You are done in this town.

We are sick of your shit.

I want him out of here!

I want them out of here now!

- Hey!
Brenda!

- Well, that was
a hell of a plan.

- Oh, fuck him, Billy.

Let's go make that record.
Let's do it right.

- Okay, but we got to act
before Columbia

changes their mind

or Ryan Bradford
runs you out of town.

Or worse.

- All right, here we go.

Columbia recording
of Jazz Winds.

Artists: Hank Garland,
Gary Burton,

Joe Morello,
Joe Benjamin.

Take one.

Whenever you're ready, Hank.

- Okay, Gary.
Let's kick it.

- It's embarrassing.

No, man.
It's the South.

When you crackers going to move
north of the Mason-Dixon?

Join civilization?

- Hey, I know a place
you can stay, Joe.

I guarantee nobody
will bother you there.

- Cool.

- Coming, sweetie.

Come here, baby.

- The hotels wouldn't take him.
What was I supposed to do?

- So you just invite any colored
with no place to stay

to sleep on my couch?

- No, I invite my bass player
to sleep on our couch.

- I am trying to make
a respectable home here.

- A respectable home
that I paid for

so I can invite
whoever the hell I want.

- You're going too far, Hank.

Don't push me like this.

- What are you doing?

- We were supposed to be
starting a new life here.

- Yeah?

- A real family.

- What was wrong
with the old life, Ev?

You never filled me in
on that.

In the old days, I bet you never
cared who woke up on your couch.

- Hmm.

- What can I get for you,
darling?

- Whatever he's having.

- So let me try
to understand this.

A beautiful woman
walks into the bar

and asks me to buy her
a drink?

I mean, I can't
even dream women

as good-looking as you are.

- Well, maybe
you're not trying hard enough.

You should try harder.

- I will.

I'm serious.

I think we should
just skip over

those first few months
of getting acquainted,

just get engaged,

as soon as you finish
your drink.

- I think it's going to take
a few more of those

before I'm in that state.

- All right then.
Line 'em up.

- Well, Evelyn.

- Ryan.

- Why don't you come sit down,

have a drink with us?

- I'm having a drink
with my new friend here.

- He won't mind.

- One, two, three, four.

- Wow.
Fabulous.

- There you go.
- Thanks.

- Hey, Sugarfoot.

Haven't seen you
in a while, brother.

- Hey, Doug.
It's a shame.

- Of course I don't frequent
clubs that serve certain types.

No offense.

- Joe, this asshole
is Doug Johnson.

He runs the musicians' union.

This is Joe Benjamin,
my bass player.

- Cool.
- Yeah, cool.

Listen, Hank.

I've been getting
a lot of phone calls.

- Yeah?
What about?

- About all these sessions
you've been booking.

Boys aren't too happy
you keep bringing cats in

from out of town.

- That right?
- That's right.

Yeah, they're starting to think

that you're just
too fucking good

for us poor country assholes.

- Fuck you, Doug.
- No, fuck you.

Keep bringing
these niggers in here,

there's going to be problems.

- Oh, yeah?
What kind of problems, Doug?

What you going to do?

- You asking
for trouble, cousin.

Maybe I'll see you around.

It's always easy to find you.

You remember that.

- Thanks for the advice,
shithead.

- Do you know,
I play a little bass too.

- Doug, he plays better bass
than you with his dick.

- Yeah, he probably can.

- Earth angel,
Earth angel

The one I adore

- Where you heading?

- 3rd and Grand.

thud!

Ugh!

You need to talk
to your friend Garland.

You hear me?

- Yeah.

- No more city niggers
playing our gigs.

You send 'em home.

You hear me?

- Yeah.
Yeah.

- And I knew the vision
of your love--loveliness

- Man, how can you play
this thing your whole life

and not know how to tune it?

You're a professional musician,
ain't you?

- Yeah, yeah,
I'm a professional, brother.

Besides, you're like
an old dog, man.

You hear notes
no human's supposed to hear.

Who invited this cat?

- Oh, I'm kidding.
You know I love you.

- Hey, Sugarfoot.
This just came for you.

- Hold that for me.

- Hank?

Hank, what the hell you doing?

- Give him room.

Give him room, folks.

He's all right.

- Do you still love me?

- Afternoon.
Help you, sir?

Sir?

- If I ever hear you come
near her again, I'll kill you.

So help me God, I won't even
think twice about it.

I'll just...

I'll just kill you.

- I'm playing.

Hello.

- Hank.

Hank, it's me.

- I figured as much.

- We need to talk, Hank.

I--

Cheryl misses you.

I can't stand staying
at my mother's for another day.

I need you to come up here
and get us.

- All right, I'll be there.

crash!

crash!

- Hello, Hank.

Where's Cheryl?

- I left her at Mom's
for a while

until things
settle down a bit.

- Probably a good idea.

- How do you feel?

- I don't know.

They're giving me
lots of shit.

All I can think about
is that night.

- The night of the accident?

- I know.

I know.

It wasn't an accident.

It's not your fault.

Things just got...messed up.

Things got so messed up.

- Hank.

- I just want to come home.

- You do?

- I want to come home
with you and Cheryl.

- That sounds good, Hank.

- I'll never leave you, Ev.

Remember?

- I remember.

- Hank!

Just take a break.

You'll drive us both crazy.

- I don't know why
this is so hard for me.

- You heard
what the doctor said.

It's going to take a while.

- It's not going to
take a while.

- Hank--

- Told Mom we'd drive up
on Saturday and pick up Cheryl.

Gosh, she's talking so much.

She can't wait
to see you, Hank.

Hank.

Are you listening to me?

You asked me what was wrong
with my old life.

There was nothing wrong.

I could have anything
that I wanted.

But nothing ever seemed real.

Nothing ever felt like
it could last.

Feeling like everything
in your life

can be taken away from you.

Always being so alone.

You could never understand that,
could you, Hank?

You always knew what you had.

You had this light around you.

It was so warm,

and I wanted that.

I dreamt that I would bathe
in that warm, safe light

with you forever.

I didn't understand
that you couldn't share it.

I didn't understand

that that was between you
and the music.

That light only comes
when you play, Hank.

And now you can't even play.

So it's the same old
empty life for me.

- I should have killed him.

I should have killed Bradford
when I had the chance.

I should have killed
the son of a bitch.

I should have killed him
before he got to you,

before he got to me.

I should've just killed him.
I should've just killed him.

- What are you doing?

- I'm crazy.
I guess I am crazy.

- Put that thing down.
Put--

Honey, put that thing--

Baby.

Put it down.

Okay.

I'm going to call
Dr. Taylor, okay?

He's going to help you.

I want to get you help.

- No.
No.

No.

No!

- Hank.

I'm supposed to be your eyes.

Oh, God.
Hank.

- Can I get you
anything else, Hank?

- No, thanks.

- It's beautiful outside today.

Not so muggy.

Let's take a walk.

It'd be good to get
your legs working.

- Maybe later.

- Okay.

- Hank.

There's something
I got to tell you.

We just got word that, uh,

Evelyn was in a car accident
up in Wisconsin.

- Cheryl?

- Cheryl's fine.

Evelyn's dead, Hank.

They said there's going to be
a small funeral,

but I said
I doubt you'd make it.

I'm sorry.

- I was waltzing
with my darling

To the Tennessee waltz

When an old friend

I happened to see

I introduced her
to my darling

And while
they were dancing

My friend stole
my sweetheart from me

- I was asked to introduce
this next artist

because he's someone
I brought to this stage

for the very first time
some 30 years ago.

There's been a lot
of great guitar players

to come down the pike.

There's only one Hank Garland.

He has no equal.

It is my great privilege
to welcome back home

artist, arranger,
writer, inventor,

and one of the best
goddamn guitar slingers ever,

Mr. Hank "Sugarfoot" Garland.

- Crazy

I'm crazy for feeling
so lonely

I'm crazy

Crazy for feeling
so blue

I knew

You'd love me
as long as you wanted

And then someday

You'd leave me
for somebody new

Worry

Why do I let myself
worry?

Wondering

What in the world
did I do?

Crazy

For thinking that my love
could hold you

I'm crazy for trying

Crazy for crying

And I'm crazy
for loving you

Crazy

For thinking that my love
could hold you

I'm crazy for trying

Crazy for crying

And I'm crazy
for loving you

STAR WARS
UN VIAJE MUSICAL

Hola. Soy Ian McDiarmid,

y estoy en el legendario
teatro de grabaciones

de los estudios Abbey Road de Londres.

La sala se llenar� pronto de los m�sicos
de la Orquesta Sinf�nica de Londres

y el compositor John Williams,
que grabar�n su partitura

para "Star Wars: Episodio III,
La Venganza de los Sith".

Completando un viaje musical
que abarca seis pel�culas extraordinarias

y casi tres decenios.

Les invitamos a acompa�arnos
a volver la vista sobre este notable viaje

a una galaxia muy, muy lejana.

HACE MUCHO TIEMPO

Durante miles de a�os,

una gran Rep�blica gobern� la galaxia.

En esa �poca, la paz,
la justicia y la libertad

florecieron en los sistemas solares.

Pero las fuerzas del Mal
jam�s se eliminan f�cilmente,

y los que trabajaban por
la destrucci�n de la Rep�blica

se vieron obligados
a esconderse en las sombras.

No permanecer�an
mucho tiempo ocultos.

LAS FUERZAS OSCURAS CONSPIRAN

Androides de combate.

Es un ej�rcito de invasi�n.

Es impensable.

No ha habido una guerra a gran escala
desde la formaci�n de la Rep�blica.

Por fin nos descubriremos ante los Jedi.

Por fin conseguiremos vengarnos.

Eliminadlos...

a todos.

Todo va seg�n lo planeado.

Nuestro pueblo se muere, Senador.

Debemos actuar de inmediato
para detener a la Federaci�n.

�No!

El velo del Lado Oscuro ha ca�do.

Imposible de ver el futuro es.

Mientras crec�a la amenaza
a la Rep�blica,

un joven esclavo
de un remoto planeta des�rtico

estaba a punto de dar su primer paso
hacia un destino mucho mayor.

El joven Anakin Skywalker

descubri� que pose�a
una particular afinidad

con los senderos de los Caballeros Jedi,

los guardianes de la paz
y la justicia de la Rep�blica.

Pronto Anakin inici� un viaje �pico

que lo arrojar�a al coraz�n mismo

de la batalla que se desat�
por el control de la galaxia.

SURGE UN H�ROE

�Eres un esclavo?

Soy una persona,
y mi nombre es Anakin.

�Ha visto alguien una carrera de vainas?

Muy r�pida, muy peligrosa.

Soy el �nico ser humano
capaz de participar.

El chico Anakin Skywalker.

�Un joven nativo!

Hay algo en este chico.

Tiene poderes especiales.

Puede ver las cosas
antes de que ocurran.

La Fuerza es inusualmente intensa en �l.

Eso s� que est� claro.

�Ha de convertirse en Jedi?

S�.

Nuestro encuentro
no ha sido una coincidencia.

La Fuerza es poderosa en �l.

Prom�teme que entrenar�s al chico.

S�, Maestro.

Entr�nalo.

Percibo mucho miedo en ti.

Ser�s un Jedi, lo prometo.

Mientras Anakin segu�a su entrenamiento
con el maestro Jedi Obi-Wan Kenobi,

otra figura lleg� a desempe�ar
un papel aun m�s profundo en su vida,

Padme Amidala, Reina de Naboo

y Senadora de la Rep�blica.

Anakin y Padme se conocieron siendo
ni�os en el planeta natal de �l, Tatooine.

A�os despu�s,
su amor floreci� y madur�.

Pero fue un amor desgraciado

que s�lo existir�a muy brevemente

y s�lo a trav�s de las estrellas.

UN AMOR ACIAGO

Pareces algo alterado.

Llevo diez a�os sin verla, Maestro.

�Eres un �ngel?

� Qu�?

�Ani?

Vaya, s� que has crecido.

T� tambi�n.

En belleza, quiero decir.

Me alegra haberte visto, Anakin.

Tambi�n me alegra haberte visto.

Estar de nuevo cerca de ella
es embriagador.

No me mires de ese modo.

Debe ser dif�cil
entregar la vida a los Jedi,

no poder hacer las cosas que quieras.

O estar con aquellos a los que amo.

� Se os permite amar?

�Padme!

�Aterriza la nave!

�Ser�s expulsado de la Orden Jedi!

�No puedo abandonarla!

�Entra en raz�n!

Podr�amos mantenerlo en secreto.

Vivir�amos una mentira.

Yo no podr�a.

�Podr�as, Anakin? �Podr�as vivir as�?

No.

Tienes raz�n.

Eso nos destruir�a.

Mientras las fuerzas del Mal
resurg�an de las sombras

y estallaban las Guerras Clon,
Anakin se vio atrapado

en una marea que arrastraba a la galaxia
que era una gran Rep�blica

a convertirse en cruel dictadura.

Pronto empez� una lucha �pica
muy dentro de Anakin

por su propia alma.

Abrumado por la desesperaci�n
y el sufrimiento,

qued� envuelto por
el manto de la oscuridad

y eligi� apartarse de la luz.

CAE UN H�ROE

Algo est� ocurriendo.

No soy el Jedi que deber�a ser.

Quiero m�s.

El lado oscuro de la Fuerza
es un camino hacia muchos poderes

que algunos consideran antinaturales.

�Es posible aprender este poder?

Ning�n Jedi te lo podr� ense�ar.

Muy peligroso poner a ambos juntos.

No creo que el chico lo resista.
No conf�o en �l.

Necesito tu ayuda, hijo.

Te nombro mi representante personal
ante el Consejo Jedi.

Formas parte de este consejo,

pero no te concedemos
el rango de Maestro.

� Qu�?

Aprende a conocer
el Lado Oscuro de la Fuerza

y obtendr�s un poder mayor
que el de cualquier Jedi.

Qued�is detenido, Canciller.

�Me est�s amenazando, Maestro Jedi?

Todo Jedi es ahora
enemigo de la Rep�blica.

� Qui�n ha podido hacer esto?

Seducido por el lado oscuro
el joven Skywalker ha sido.

Me siento muy indefenso.

�T� eras el elegido!

Confuso el futuro de este chico es.

No eres todopoderoso.

Pues deber�a serlo.

Alg�n d�a lo ser�.

�Lord Vader?

� S�, Maestro?

Levantaos.

Cuando los d�as de paz
y justicia en la galaxia

conocieron un triste final,

una nueva potencia oscura
empez� a existir:

El Imperio Gal�ctico.

El nuevo r�gimen se dispuso
a establecer el control

con mano de hierro y Anakin
se levant� para ocupar su lugar

al lado del Emperador,

no como el joven
y dotado Jedi que hab�a sido,

sino como la figura ominosa
en que se hab�a convertido:

Darth Vader,
Se�or Oscuro de los Sith.

SE FORJA UN IMPERIO

� Qu� hab�is hecho con esos planos?

� Qu� dese�is, mi se�or?

Hay una gran perturbaci�n en la Fuerza.

Su carencia de fe resulta molesta.

Pronto la Rebeli�n ser� aplastada y el
joven Skywalker ser� de los nuestros.

�No!

Mientras la garra del Imperio se cerraba

en torno a los sistemas solares
de toda la galaxia,

el planeta �rido y desolado de Tatooine

apenas atra�a la atenci�n

de los gobernadores imperiales.

Pero las arenas cambiantes de Tatooine
fueron el escenario de los acontecimientos

que cambiar�an la galaxia para siempre.

EL PLANETA M�S ALEJADO DE

�Ese peque�ajo averiado!

Todo es culpa suya.

Me enga�� para que fuera por aqu�
pero a �l no le ir� mejor.

�Alto! � Qu� es eso?

�Un transporte!

�Estoy salvado!

�Aqu�!

� Crees que nos van a fundir?

No dispares, no dispares.

�Es que nunca acabar�?

-� Sabes hablar Bocce?
-Por supuesto que s�, se�or.

Es como una segunda lengua para m�.

-Domino m�s de...
-Est� bien, calla.

Hola, � c�mo puedo ayudarle?

-Yo soy C...
-�Trespe�?

�El Hacedor!

�Oh, amo Ani!

Sab�a que volver�as.

Benditos sean mis circuitos,
cu�nto me alegra veros.

�Por todos los cielos!

�R2, no me dejes!

Estoy aqu� hecho pedazos
y t� tienes delirios de grandeza.

All� vamos otra vez.

Venga, Rojo, vamos.

Espero que no lo olvides, peque�ajo.

Por qu� me arriesgo siempre por ti
es algo que nunca entender�.

Tatooine era tambi�n
el hogar de una figura

que afectar�a a la galaxia
muy profundamente:

un joven granjero de humedad
llamado Luke Skywalker.

Las aventuras de Luke
empezaron en una oscura cantina

del puerto espacial de Mos Eisley
y en compa��a muy poco corriente:

dos androides,
un contrabandista espacial,

un wookiee de 2 metros 40

y un Caballero Jedi ya mayor
llamado Obi-Wan Kenobi.

UNA ALIANZA IMPROBABLE

��Luke?!

Creo que la unidad R2 que hemos
comprado puede haber sido robada.

-� Qu� te hace pensar eso?
-Dice que pertenece

a alguien llamado Obi Wan Kenobi.

Tu padre quer�a que tuvieras esto
cuando tuvieras edad suficiente.

� Qu� es?

Es la espada de luz de tu padre.

Debes aprender los caminos de la Fuerza
si quieres venir conmigo a Alderaan.

No puedo meterme en eso.

Tengo trabajo que hacer.

Debes hacer lo que
creas correcto, por supuesto.

Quiero ir contigo a Alderaan.

Quiero aprender los caminos de la Fuerza
y convertirme en Jedi como mi padre.

El puerto espacial de Mos Eisley.

No encontrar�s nunca
un lugar como �ste tan lleno

de maldad y vileza.

�ste es Chewbacca.

Es el primer oficial de una nave
que puede convenirnos.

Han Solo.

Soy el capit�n del Halc�n Milenario.

� Cu�l es la carga?

S�lo pasajeros...

yo, el muchacho, dos androides

y ninguna pregunta a contestar.

Est� bien, entonces ya ten�is nave.

A mundos de distancia,
otro l�der de la lucha contra el Imperio

tambi�n se hac�a mayor.

La Princesa Leia Organa era una joven
apasionada en sus convicciones

y de recursos sorprendentes.

Esgrim�a la influencia
que a�n pudiera tener

como Senadora de la antigua Rep�blica

para ayudar a los rebeldes
en su lucha por la libertad.

Quienes deseaban el regreso
de la paz y la justicia

no pod�an pedir m�s nobleza
o valent�a en uno de sus defensores.

SURGE UNA DEFENSORA

�No eres un poco bajo
para soldado de asalto?

No s� qui�nes sois ni de d�nde ven�s,

pero desde ahora se hace
lo que yo diga, � entendido?

Mire, Su Alteza,
a ver si dejamos las cosas claras:

Yo s�lo sigo �rdenes
de una persona: de m�.

Pues es un milagro que sigas vivo.

� Quiere alguien quitarme
este felpudo con patas de mi camino?

Eh, Su Alteza, yo s�lo quiero ayudar.

Bueno, supongo que
no lo sabes todo sobre las mujeres.

Te quiero.

Lo s�.

La Estrella de la Muerte.

Una inmensa estaci�n espacial
tan poderosa

que es capaz de destruir un planeta entero
con un disparo de su arma principal.

Sola en una celda del interior
de esta fortaleza oscura,

la princesa Leia esperaba su ejecuci�n

a manos del Imperio
al que hab�a jurado destruir.

Con la ayuda de Luke Skywalker
y sus nuevos compa�eros

Leia emprendi� una arriesgada huida

con las Fuerzas Imperiales
decididas a perseguirla.

UN RESCATE ARRIESGADO

Soy Luke Skywalker.
Vengo a rescataros.

�Vamos!

El poder de un Jedi procede
de la Fuerza,

un campo de energ�a creado
por todas las cosas vivas

que nos rodea, penetra en nosotros
y mantiene unida la galaxia.

Quiz�s el m�ximo practicante
de este m�stico poder era un diminuto

Maestro Jedi de 900 a�os
conocido como Yoda.

Fue Yoda quien entren� al joven Luke
en los senderos de los Jedi

y lo prepar� para su enfrentamiento final
con los gobernantes del Imperio.

SE ENTRENA A UN JEDI

Me pregunto por qu� est�s aqu�.

Estoy buscando a alguien.

Yoda. Buscas a Yoda.

�Lo conoces?

Llevarte a �l podr�a.

� Yoda?

Usa la Fuerza.

S�. Si�ntelo.

No puedo. Es demasiado grande.

Luke, debes completar tu entrenamiento.

Luke, no quiero perderte
a manos del Emperador

como perd� a Vader.

No me perder�s.

Si eliges enfrentarte a Vader,
deber�s hacerlo solo.

Es fuerte Vader.

Recuerda lo que has aprendido.
Eso salvarte puede.

Lo har�. Y volver�. Lo prometo.

El crep�sculo me envuelve
y pronto la noche debe caer.

Pero necesito tu ayuda.

M�s entrenamiento no precisas.

Conoces ya lo necesario.

La Rebeli�n contra el Imperio
se vio jalonada

por multitud de batallas heroicas
y huidas emocionantes

pero ninguna tan arriesgada
como la del Halc�n Milenario

perseguido por un Destructor Imperial

a trav�s de un enorme
campo de asteroides.

Se ha dicho que la posibilidad

de navegar con �xito
por un campo de asteroides

es aproximadamente de 3.720 a 1 .

Algunos preferir�an
no conocer esa proporci�n.

UNA HUIDA APURADA

�No te ir�s a meter
en un campo de asteroides?

Estar�n locos si nos siguen, �no crees?

Estamos en un aprieto.

Finalmente, Luke Skywalker y Leia Organa
acabaron sabiendo que eran hermanos.

Como hijos mellizos de Anakin y Padme,
compart�an un v�nculo mucho m�s fuerte

que el de ser dos l�deres fieles
a la Alianza Rebelde.

Aunque se criaron en planetas
a a�os luz de distancia,

Luke y Leia se unieron en su lucha
por destruir al Imperio opresor

que su padre ausente contribuy� a crear.

UN LAZO INQUEBRANTABLE

Leia.

Luke.

Tenemos que volver.

-� Qu�?
-S� d�nde est� Luke.

Leia es mi hermana.

Tu instinto te sirve bien.

La Fuerza es muy intensa en mi familia.

Mi padre la tiene...

yo la tengo

y...mi hermana la tiene.

Lo s�.

De alguna manera, siempre lo he sabido.

Cuando �l vuelva, no me entrometer�.

No es eso, no es lo que t� crees.

Es mi hermano.

La batalla final
por el control de la galaxia

tuvo lugar en la luna-bosque de Endor,

un mundo habitado por una raza
conocida como Ewoks,

unas criaturas pintorescas
que probaron ser feroces guerreros

al verse amenazadas
por las fuerzas Imperiales.

Cuando la Alianza Rebelde
concentr� sus fuerzas en Endor,

empez� un �ltimo
y desesperado esfuerzo

por deponer el mando tir�nico
del Emperador

de una vez por todas.

UNA LUNA SANTUARIO

Como fiel sirviente del Emperador,
Darth Vader abraz� el Lado Oscuro

de un modo que parec�a
irrevocable y total

pero, al dividirse
entre el servicio a su amo

y la vida de su �nico hijo,

Vader acab� descubriendo el bien
que a�n habitaba en su interior.

Herido de muerte
tras destruir al Emperador,

un Vader moribundo
yac�a en brazos de su hijo

con la Estrella de la Muerte
desmoron�ndose a su alrededor.

El ni�o esclavo de Tatooine,
el brillante guerrero Jedi

y Se�or Oscuro de los Sith
hall� por fin la paz.

LA REDENCI�N DE UNA VIDA

Entr�gate al Lado Oscuro.

Tus pensamientos te traicionan, padre.

Siento el bien en ti.

Es demasiado tarde para m�, hijo.

No te dejar� aqu�. Tengo que salvarte.

Ya lo has hecho.

Luke, ten�as raz�n.

Ten�as raz�n sobre m�.

S� que hay bien en ti.

�l puede ayudarte.

Est� aqu� para ayudarte.

�Anakin!

�No!

Es ahora m�s m�quina que hombre.

Fue all�, sobre la verde luna de Endor

donde la Alianza Rebelde
sali� al fin victoriosa

sobre las fuerzas del Mal.

Fue all� donde Anakin Skywalker

se liber� de las cadenas
que le somet�an a su Emperador

y hall� la redenci�n
a trav�s del amor a su hijo.

Fue un momento de celebraci�n,

cuando la paz y la justicia
volvieron a la galaxia.

Que la Fuerza les acompa�e...siempre.

AMANECE UN NUEVO D�A

�Paz!