- hace 2 días
El local del videoclub se traspasa y Paloma se empeña en poner una Boutique, pero alguien se adelanta y alquila el local para montar una funeraria. Los vecinos no están dispuestos a ello y tratan de acabar con el nuevo negocio... robando uno de los cuerpos. Natalia se ha echado un nuevo novio y Paloma y Juan se empeñan en conocerle... pero se llevan una sorpresa al descubrir que es un hombre de 38 años. Por último, Roberto comienza a trabajar en la empresa de su suegro y cree que el trabajo de Lucía es más fácil que el suyo, así que deciden intercambiárselo. Lucía le encuentra el gusto a no hacer nada y se marcha de viaje a Estambul.
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TVTranscripción
00:00Here, here, here there is no one who lives!
00:27Not here! Not here!
00:30There's no one living here!
00:59Do you want me not to know?
01:00Eve.
01:01Emilio.
01:02What's going on here?
01:03Ah, well, the video closure is already difficult.
01:05The crisis.
01:06What crisis?
01:07Well, the crisis that always happens, right?
01:08Let's see what they put here now.
01:10Juan!
01:11We go and I'll set up the boutique.
01:12No, I don't know.
01:13I don't know if there's a boutique here...
01:14Why am I famous in the neighborhood?
01:16For being gossipy.
01:17What the fuck?
01:18For being a gossip!
01:19Man!
01:20Look at this one.
01:21Look, this is called Urban Fashion and everyone is jealous of how good I've seen.
01:26No, that's clear, darling, but no...
01:28We took out a loan and opened the store.
01:30Hey?
01:31How do you think Zara started?
01:32So.
01:35Sir, John, I'll go around it for you, okay?
01:36Imagine me, Emilio.
01:37What a mess.
01:38I've already stayed with you.
01:40I think it's good sex.
01:41Neither boutique nor boutique.
01:43An easier one.
01:44She looks like Espinete's girlfriend.
01:47Here, here, here there is no one who lives.
01:49Not here, not here.
01:51Every day is like this.
01:53I couldn't imagine it when I came here.
01:56I was just looking for something bad.
01:58I wake up every day in the middle of a hurricane.
02:01Here, here, here there is no one who lives.
02:03Not here, not here.
02:05Here, here, here there is no one who lives.
02:08Not here, not here.
02:10The house above me is collapsing.
02:12I can't find the goalkeeper.
02:14The dresses watch me and listen to me.
02:17I can't stand it.
02:18In this place.
02:20I put it in a cocktail shaker.
02:24A train, an earthquake and a volcano.
02:27Go, go, go, go.
02:29And you will have this ladder.
02:32Go, go, go, go.
02:33Here, here, here there is no one who lives.
02:35Not here, not here.
02:37Here, here, here there is no one who lives.
02:40Not here, not here.
02:42Here, here, here there is no one who lives.
02:44Here, here, here there is no one who lives.
02:45Subscribe to the channel!
03:15I wore one since my first communion.
03:17And my grandfather tied the knot for me?
03:19Very handsome.
03:20Let's go, my love.
03:22Hey, hey, hey!
03:23I haven't had breakfast.
03:24Well, grab something, run, okay?
03:25I'll take the car out and hurry up, my father wants to introduce you to the team of architects.
03:35Fuck!
03:36Oh!
03:37How awkward is this?
03:38They've thrown me out for a thousand, I mean, I've been left on the street.
03:40But, Paquito, I told you, nobody went into that video store.
03:43I don't know what I'm going to do, man.
03:44Well, you start studying, because if not, you'll end up like this.
03:47Hey, you, I'm a very secretive guy, I watch a lot of television.
03:49What's it about?
03:51But what's going on, Mario Conde?
03:53But who died on you, man?
03:55It's no joke, I'm already burned out enough.
03:57But where are you going with that look?
04:00To work at Lucía's father's company.
04:02Wow, another one connected!
04:03So for the country.
04:04It's you!
04:06Oh, look!
04:07There's mom.
04:08Go on.
04:08Come on, kid, okay?
04:09They take you to school.
04:10I'll tell you what I charge later, okay?
04:12Losers.
04:12Hey, ghost!
04:15See how bad your day is?
04:16Look how it ends.
04:17Look!
04:19Goodbye, pretty!
04:20Nothing can be seen.
04:22What are they going to put here?
04:23Oh!
04:24Hairstylist, makeup artist and receptionist needed.
04:26What will it be?
04:27A car workshop.
04:28What's it going to be?
04:29A hair salon.
04:30I'm going to tell Bethlehem.
04:31You might be interested.
04:32Yes, yes.
04:33Let's see if you finally work on something serious.
04:35Oh, that's great, isn't it?
04:37A hair salon at your doorstep.
04:38So we can read magazines for free.
04:40Oops!
04:41Are you going to put something here or what?
04:42A hair salon!
04:43You see, Juan?
04:44They've already beaten us to it.
04:45Yes, it's a shame.
04:46We had already requested the loan.
04:48Oops!
04:48Noises are heard.
04:49And what is that?
04:54The UV ray machine?
04:57But what kind of hair salon is this?
05:00Excuse me for a moment.
05:10Juan, is this a funeral home?
05:12Damn, what a joy.
05:14It could have been a sesop.
05:16This one's fault.
05:18Go away, Mr. Cuesta!
05:20Go away!
05:21But hey, what's my fault?
05:22that they put this here?
05:24Not a funeral home, Juan.
05:25Not a funeral home here.
05:32Hey, are you going to open a hair salon?
05:34where is the video store?
05:35Look how good.
05:36I hold on a bit and don't make the sidewalk.
05:37No, they have put up an ad.
05:39They need a receptionist.
05:41Oh!
05:42Are you going to get to work?
05:44Sorry, it's for you.
05:45I am an actress and presenter.
05:47You are the only one who has presented
05:48They are turkey sausages
05:50in a supermarket.
05:50And the muesli bars.
05:52Oh!
05:52For your information,
05:53Brad Pitt was a waitress in Los Angeles.
05:55Do you see it?
05:56Even Brad Pitt worked.
05:58Well, what do they need?
05:59a receptionist downstairs.
06:01Leave me alone.
06:03Man,
06:04better than selling hamburgers.
06:06And it's also right next to my house.
06:08Well, come on, come down.
06:10What are you waiting for?
06:11That you have to earn a living.
06:12I'm going to change.
06:13Somewhat sexy bridge.
06:14Show a little bit of leg
06:15which always helps.
06:23Natalia, you're leaving me.
06:24everything in between
06:24And I can't live like this, huh?
06:26Okay.
06:27It's not worth it, no,
06:28because it's not worth it.
06:29Juan, say something to this girl,
06:30please.
06:31I'm in the bathroom.
06:32Natalia, come help me.
06:34What is this?
06:35Juan.
06:36What's happening?
06:38Look what I found
06:39to the girl.
06:41Natalia!
06:41Do you take drugs?
06:42No, worse.
06:44Natalia,
06:45Natalia,
06:45Can you explain to me?
06:46what is this?
06:47They are pills for stress.
06:48For stress?
06:49They are anti-baby pills.
06:51Well, that's it,
06:53if I get pregnant
06:54You're going to get stressed, aren't you?
06:55Oh my God.
06:56Natalia,
06:56you have no age
06:57to take this, huh?
06:58Me at your age
06:58I didn't take anything.
06:59It wasn't like that.
07:00Hey,
07:00that I'm going to turn 18.
07:02I'm supposed to be grown up now, huh?
07:03No, your mother is older.
07:04You are a girl.
07:04I, John.
07:05Let's see.
07:06I have a boyfriend,
07:06I sleep with him
07:07and the gynecologist
07:08He prescribed me the pill.
07:09What's the problem?
07:10But what is the problem?
07:12The problem is...
07:13is...
07:14Pigeon,
07:15you tell him what the problem is.
07:16We want to meet you
07:18to your boyfriend
07:18and their parents.
07:20Correct.
07:20Because if you go there
07:21long live life
07:21we have to be informed.
07:23As long as you live
07:24under this roof
07:24you have to...
07:25Yes, I'll call him.
07:26but don't give me the lecture.
07:27Wow, how annoying I am!
07:29Juan,
07:30This girl
07:31it has gotten out of hand.
07:33And you?
07:33why do you look at him?
07:34in the bag?
07:35You're grounded!
07:36Yes, man,
07:37whatever you say.
07:38As if we didn't have
07:38enough problems already.
07:40It's horrible!
07:41I can't live
07:42with a funeral home
07:43at the door.
07:44I have been told
07:44that incinerate people.
07:46I just go out on the street
07:47and the world falls on me, huh?
07:48And also
07:48there is no tobacco machine.
07:50I think it's not that serious,
07:51the truth.
07:52We can live together
07:52with it perfectly.
07:54Very good,
07:54but you keep quiet
07:55that the president
07:55He is my husband.
07:56No, Paloma,
07:57I keep quiet,
07:57I feel like it.
07:58Well,
07:58I don't care either.
07:59It is an establishment
08:00like any other.
08:01Like anyone else?
08:02So it's the same thing
08:02a funeral home
08:03than a bus stop.
08:04Man,
08:04Well, it doesn't have it in an oven.
08:08A little joke
08:09to relax a little.
08:10This gives me the creeps,
08:11Hey?
08:11We can do something, right?
08:13Let's see.
08:13Attention,
08:14that the president is going to speak.
08:15I propose to name
08:16a commission
08:17to convey to them
08:18our discomfort
08:18and cordially invite you
08:20to cease their business
08:21in the community
08:21and they look for each other
08:22to comfortable
08:23in another location.
08:24Let's see,
08:25volunteers.
08:25I assumed so.
08:30Emilio,
08:30come with me.
08:31Oh,
08:31let's see,
08:31is that these
08:32They also put pressure
08:32a bit.
08:33Emilio!
08:34Go.
08:43My mother,
08:44what a cake.
08:46Come on,
08:46come on.
08:52Hello,
08:53hello good.
08:54Hello,
08:54hello good.
08:55I am Juan Cuesta,
08:56president of the community.
08:57Eduardo de Cija,
08:58manager,
08:59How can I help you?
09:00No no,
09:00to me in nothing.
09:02We come to convey to you
09:03again.
09:03Eduardo,
09:04that I have already finished
09:05to embalm
09:05To Mr. Garcia,
09:06that if you want to throw it
09:07ready, good.
09:08Yes, yes.
09:08Meet Clara,
09:09our thanatónpactora.
09:11Nice to meet you.
09:12Hello,
09:13how are you?
09:13If you'll excuse me for a moment,
09:14there is a lack of staff
09:16and we are overwhelmed.
09:20But I don't believe it anymore
09:20how overwhelmed,
09:21Mr. John.
09:22Look where they have one.
09:22Look how dead he's going to be.
09:25That gentleman is asleep.
09:26Yeah,
09:26is very quiet.
09:28I'm going to play it a little bit
09:28let's see what happens.
09:30Leave him,
09:30don't touch him,
09:30don't touch him.
09:31A magnificent reconstruction.
09:33Yeah,
09:33I'm with you now.
09:34Let's see.
09:35Yeah,
09:37He told me who you are
09:37the president of the community.
09:39Correct.
09:40I want to inform you
09:41our discomfort
09:42and invite him
09:43to move your business
09:44to another place
09:44more appropriate than this.
09:46Look,
09:46I understand that a priori
09:47This activity
09:48It may seem to you
09:48a bit uncomfortable,
09:51but I assure you
09:52that they are not going to have
09:52you no problem.
09:54We are a multinational
09:54with more than 200 establishments
09:56distributed throughout the world,
09:57all necessary licenses
09:59to give a treatment
10:00integral to the deceased.
10:01No,
10:02if I don't doubt it
10:02that they are
10:02highly qualified.
10:03What are you doing?
10:05Oh no,
10:05sorry,
10:06that is that it has leaned
10:06you forward
10:07and I thought it was falling.
10:08Besides,
10:09Let him know that because we are neighbors
10:10we give them
10:11with a discount
10:12by 20%
10:13in all our products
10:14and services.
10:15Ah,
10:15Well, it is appreciated.
10:17They can transmit
10:18to their neighbors
10:18that we are going to take
10:19wonderfully
10:21and what I hope
10:22may it be for many years.
10:24Yeah,
10:25will give it to you
10:25a real joy.
10:27I don't know
10:28if I'm going to hold on
10:28a lot here,
10:29Hey?
10:29It's that I seem
10:30the boy of the sixth sense,
10:32I'm here all day
10:32seeing dead people.
10:33Do you know what's happening to you?
10:35That deep down
10:35you are a morbid
10:36and you love to peek out.
10:37Do as I do,
10:38when you walk past
10:39don't look.
10:39That's the most depressing thing,
10:40but you don't realize
10:41that the whole society
10:42is mounted
10:42about the concept
10:43of denial of death.
10:44Interesting reflection,
10:45I'm going jogging.
10:46It's that we live thinking
10:47that we are not going to die.
10:48Mauri,
10:48It usually helps,
10:49look,
10:49do one thing,
10:50have a chocolate ice cream
10:51and a transilium
10:51and you'll see
10:52how do you get over it,
10:53Hey?
10:53It's just that it's distressing,
10:53imagine for example
10:54something's wrong with you.
10:55But why is this going to happen to me?
10:56something to me?
10:56Well, because it can happen.
10:57whenever.
10:58Fernando,
10:58you go jogging,
10:59you trip over a cord
11:00of the shoe,
11:01you're going headfirst
11:01against a lamppost,
11:02bam!
11:02It's over.
11:03And what do I do?
11:04What are you up to?
11:05Look,
11:05if what you intend
11:06is that we register
11:07as a couple,
11:07in fact,
11:08I warn you that they exist
11:0830,000 more romantic ways
11:10to ask me,
11:10No?
11:10No,
11:11no,
11:11It's that I love you very much,
11:12It's that I love you very much,
11:13Okay?
11:13And I tell you very little,
11:15very little,
11:16take care please,
11:17Hey?
11:17Okay,
11:17don't worry,
11:17I tie my shoelaces
11:18and I avoid streetlights,
11:19Hey?
11:19You take good care of yourself,
11:20Okay?
11:20Yeah.
11:21But all my life taking care of you,
11:22Okay?
11:23Hey,
11:24Have you looked at that mole?
11:26What mole?
11:26I think it has changed
11:27colored,
11:28we should go to the doctor,
11:29Hey?
11:29Fuck.
11:30And I'm going to give you
11:31a reflective raincoat
11:32that you can't be seen with that.
11:34Oh.
11:40Fuck,
11:42Nativity scene,
11:43what level.
11:44Hey,
11:44You haven't met someone, have you?
11:45No?
11:46No,
11:46I have an interview
11:47of work,
11:48moron.
11:48But for me
11:49you didn't get so pretty.
11:50Nativity scene,
11:51we could go back
11:51that I am very lonely.
11:52Oh,
11:53you make me feel sorry for you.
11:54Hey,
11:54that I left it,
11:55we are supposed to be able to
11:56come back whenever I want.
11:57But what do you think?
11:57What am I a taxi?
11:58What can you get on and off?
11:59whenever you want?
12:00What you will do is a close one.
12:01And you're an asshole.
12:02Do you see it?
12:03We've already fixed it.
12:04When do we meet?
12:04Oh,
12:05the heels.
12:05Nativity scene!
12:06Nativity scene!
12:09Hello?
12:11Hello.
12:12I came for the announcement
12:13from the receptionist,
12:15but I think I...
12:15Yes, yes,
12:15Please come in.
12:16Sit down.
12:17You're lucky
12:17because you are the first.
12:18Happens.
12:20That?
12:20Yeah.
12:23How are you?
12:27A little nervous.
12:28Peaceful.
12:30Let's see,
12:31Do you have experience?
12:32in the branch
12:32of the funeral compasses?
12:33Well,
12:35I work at a burger.
12:36I'm used to it
12:37to work with rotten meat.
12:41Sorry.
12:43Yeah,
12:43I already got it.
12:44It's very nice,
12:45it's very nice
12:46that you have felt
12:46of humor
12:46in this business.
12:48We too
12:48we try to downplay
12:49as far as possible.
12:51Ah,
12:51I play down the drama very well.
12:53Come on,
12:53that my life is a drama
12:54and here I am.
12:55Anyway,
12:56it is not easy
12:56work in a funeral home.
12:58Are you impressed?
12:59see a dead body?
13:01Well,
13:02normal.
13:04Come on,
13:04that I have not had
13:06the pleasure.
13:06I mean,
13:07the pleasure,
13:07the occasion.
13:09Yeah.
13:10Look,
13:10learn from these phrases
13:11that are a little
13:12for, well,
13:12to comfort
13:13to the relatives,
13:14you already know.
13:16Yeah.
13:16But will he hire me?
13:19Yeah,
13:19Yeah,
13:19the position is yours.
13:20You would start tomorrow.
13:23I mean,
13:23that I have to sell
13:24flowers and coffins.
13:26No,
13:26No,
13:26not quite.
13:27We provide a service
13:28more complete,
13:29more American type.
13:30I wanted since the move,
13:31embalmed,
13:33hair salon,
13:33make-up,
13:34the wake,
13:35cremation,
13:35inhumation.
13:37Look,
13:37I'm going to teach you
13:38our facilities
13:39that precisely
13:40right now
13:40we are embalming
13:42to one of ours
13:43customers.
13:44come this way.
13:52Listen,
13:52And how do they pay for this?
13:55Mister.
13:58Hello.
13:58They are here.
14:01I'm not going to like it,
14:02Juan.
14:02This boy
14:03I'm not going to like it.
14:04Let's give it to him
14:04an opportunity,
14:05dear.
14:06Probably
14:06he is a lovely boy.
14:07He is going to bed
14:08with the girl.
14:09You're right,
14:09I'm not going to like it either.
14:12Hello,
14:12I'm Alvaro.
14:13Yeah,
14:13come in, come in.
14:13Yeah,
14:14we were waiting.
14:15Hasn't he come?
14:15your son?
14:17As?
14:18No no,
14:18better, better.
14:19So we can chat
14:20among us
14:20with complete frankness.
14:22Look,
14:22is that we
14:22we sincerely think
14:24that our children
14:24they are too young
14:25for...
14:27for you,
14:28Do you get me?
14:29Yeah,
14:30but here it seems to me
14:31that there is an error,
14:31Hey?
14:32Because I don't have
14:32no children.
14:33As?
14:34That Natalia's boyfriend
14:35it's me.
14:36As?
14:37Well, what do we wear?
14:38two weeks dating.
14:40But...
14:40So your son
14:41when is it coming?
14:41What is he?
14:44The one that is coming out
14:44with the girl?
14:46Ah,
14:47good.
14:51Get out of here,
14:52pederast!
14:52Cradle-hopper!
14:53Go with those your own age!
14:55They all get surgery!
14:56But let me tell you...
14:57Fuck,
14:59what a good vibe.
15:00To that girl
15:01you have to take him
15:01to a psychologist, huh?
15:02Yeah,
15:02but from social security,
15:03that the others are very expensive.
15:05Alvaro hasn't arrived,
15:06but I have been told
15:06who was parking.
15:07Natalia,
15:08you are wrong,
15:08you are wrong,
15:09but to that gentleman
15:10you take off his hair
15:11and he's like your father.
15:12Dad,
15:12Where is Alvaro?
15:13On the way home
15:14which is where it has to be
15:14and give thanks
15:15that we have not reported him.
15:16I'll tell you right now
15:17that goes up
15:17and you ask for forgiveness, huh?
15:18Hey, Natalia.
15:19Alvaro!
15:20Hey,
15:20I strictly forbid you
15:21from this moment on
15:22that...
15:23Fuck,
15:24that's his car.
15:25Alvaro!
15:26But you see why?
15:27I never introduce you to anyone, okay?
15:28Oh,
15:29That car is really expensive, huh?
15:30500 SL?
15:3115 million
15:32in metallic paint.
15:33But baby,
15:34to this gentleman
15:34what do you do for a living?
15:35Mother,
15:35is that Alvaro
15:36It has art galleries,
15:37just opened one in New York
15:38and his father has vineyards
15:40in La Rioja.
15:40Hey, Juan,
15:41like Angela Chanin.
15:43Look,
15:43as you have bothered
15:43my relationship,
15:44I will never forgive you for that.
15:45Natalia,
15:46hey.
15:46Well,
15:48now she's angry,
15:48but with time
15:49he won't thank us for it.
15:50Juan,
15:50we cannot fight against love.
15:52It seems that they love each other.
15:53What are you saying?
15:54You don't worry about anything,
15:55I'll take care of this.
15:59Alice!
16:01They got me.
16:02Oh yeah?
16:04Well,
16:04Well, let's see if you make me
16:05some free highlights.
16:06Yeah,
16:07The only thing is that first
16:08has to run you over
16:08a bus.
16:09Me?
16:10Because?
16:10Because it's a stupid funeral home.
16:12There it goes.
16:13Oh,
16:14And why do you say yes?
16:16Well, because he pays 1,500 euros.
16:18Besides,
16:19What's wrong with it?
16:19work in a funeral home?
16:20Hey?
16:21Man,
16:21It's not what a little girl dreams of.
16:23Hey,
16:24that I may know
16:24any good video.
16:25And his wife isn't going to say anything.
16:28Well,
16:29let's see how it goes tomorrow.
16:31Oh,
16:31my mother.
16:35Excellent,
16:35work in the same company,
16:36my love.
16:37Now we will be able to
16:38spend more time together.
16:39Yes, yes,
16:40it's very nice.
16:41But why didn't you tell me?
16:42that you were going to be my boss?
16:44What's the problem?
16:45Well, I don't like it,
16:46I find it uncomfortable.
16:47Everyone knows
16:48that I'm your boyfriend
16:49and they look at me like
16:49there's the plug.
16:51Man,
16:52is that you are a plugged in.
16:54And you, what?
16:55I have been working for four years
16:56and I have a master's degree
16:57in business management.
16:59Yeah,
16:59that you are the owner's daughter
17:00you leave it for the end
17:01from the curriculum.
17:02Well,
17:02let's see,
17:03what bothers you?
17:04Work with me
17:04or that your boss is a woman?
17:06Well,
17:07now I'm becoming a feminist.
17:09Look,
17:10Lucia,
17:10don't hang medals on yourself
17:11because your job
17:12is the most comfortable.
17:13I do that
17:13with eyes closed.
17:14Oh yeah?
17:15What happens
17:16is that I am an artist.
17:17Business is my thing
17:18I've never been interested in them.
17:19Very good,
17:20Well, I'll leave you
17:20my position delighted.
17:22I'm taking a couple of weeks off.
17:23vacation
17:23that come in handy.
17:25Come on,
17:25Okay?
17:26Call your father.
17:27Right now.
17:27Hey,
17:31and what do you have?
17:32what to do exactly?
17:34Tomorrow my secretary
17:35will set your day.
17:36Ah,
17:37I'm going to have a secretary.
17:39He is 57 years old.
17:42Okay.
17:44But it's good.
17:46I said that nothing can be done
17:48and nothing can be done.
17:49That funeral home
17:49it's a business
17:50completely legal
17:51and we have to learn
17:52to live with it.
17:53And they couldn't have opened
17:54a candy store?
17:55Besides,
17:56not all is bad news.
17:58After a tough negotiation
17:59I have achieved
17:59that all the neighbors
18:00let's have a special discount
18:0220%
18:02on all products
18:04and funeral home services.
18:05Ah,
18:06Well, that's very good.
18:07And what for me?
18:07I want a discount on that?
18:09It's true,
18:10because when I die
18:11I don't have to pay anything.
18:12Fuck,
18:12what price,
18:13if you already die
18:13it costs money.
18:14Well,
18:14and why don't we look at him?
18:15the positive side?
18:16It's true,
18:16There are very attractive widows.
18:18Yeah,
18:18and they are going to be revalued
18:19much the floors
18:20with that down.
18:21No,
18:21Mauri,
18:22This will help us
18:22to realize
18:23that life is two days,
18:24that we have to be happy
18:25and we all get along better.
18:28Oh my God,
18:29the posh girl has become a hippie.
18:31Pigeon,
18:31you and I one day
18:32we are going to have problems,
18:33Hey?
18:33I have a crush on you.
18:34You to me?
18:35Don't tell me,
18:35what are you going to do to me?
18:36Let's see,
18:36Well, let's see,
18:36let's see.
18:37Let's see,
18:37let's not take things out
18:39out of joint,
18:39a topic that neither
18:40It is so important,
18:41man.
18:41You are right,
18:42Fernando,
18:42please.
18:43Besides,
18:44It would have been much worse
18:45that they would have put on us
18:45a bar or a nightclub.
18:47This at least
18:48It is a silent business.
18:50In fact,
18:50I can't think of anything
18:51a business that is quieter.
18:52That's clear,
18:53Hey?
18:53We are not going to have noise.
18:55Look,
18:55look,
18:56look,
18:56look,
18:56here comes another one.
18:57Clear,
18:58is that this is a very bad work.
18:59Come on,
19:00get inside.
19:01Can't stop looking?
19:02or what?
19:03Hey,
19:03how long ago
19:03that we do not do
19:04you and me a checkup?
19:05What do I know?
19:06Well, I'm going to call.
19:07and I ask now,
19:07That's what we have insurance for
19:08that we get tested
19:10of blood,
19:11electrocardiogram,
19:12bullfighting plate,
19:13a complete one.
19:13Yeah,
19:13Well,
19:14but calm down,
19:15I notice you
19:15a little crazy
19:16with the theme of the funeral home.
19:18Crazy?
19:18Come here,
19:19please.
19:19Stand here next to me,
19:20but take off your shoes first.
19:21Fernando,
19:22take off your shoes and stand here beside me,
19:23please.
19:24Yes,
19:24yes.
19:25Come here,
19:25come,
19:25come.
19:26What's happening?
19:26Fuck,
19:27how does this burn?
19:27Ah,
19:28It is the crematorium oven
19:28that they have put underneath,
19:29What do we do?
19:30Well, look,
19:31for a start,
19:32I'm going to pay for the heating
19:33and so we save
19:34a few bucks.
19:35Really,
19:35you are optimistic
19:36so unpleasant.
19:45Lucia,
19:47the alarm clock,
19:48come on,
19:48to work.
19:49It's yours.
19:51Oh?
19:52Yeah.
19:55Leave.
19:57I have a meeting
19:57at the first hour.
19:59Okay,
19:59dear.
20:01Oh,
20:02Should I stay in bed now?
20:04It's up to you,
20:05I'm going to seize the day.
20:08Come on,
20:08Pussy,
20:09if it is still night.
20:12Come on,
20:13don't fuck with me.
20:16Flowers,
20:16flowers,
20:17flowers for their deceased,
20:18carnations,
20:19daisies,
20:20flowers in general,
20:21flowers.
20:21Hey,
20:22don't buy them inside
20:22that they nail you,
20:23Hey?
20:23Nobody has died on me.
20:24Well,
20:25Pussy,
20:25Well, for your wife,
20:25that you have it very neglected.
20:27Flowers,
20:27flowers,
20:28flower for your...
20:29Hey,
20:29gentleman,
20:30some flowers.
20:30Hey,
20:30Emilio,
20:31Emilio,
20:31what are you doing?
20:32Man,
20:32Well, here I am getting a few euros.
20:34You didn't say at the Neighborhood Council
20:35that you have to get used to living with the funeral home.
20:36Well, I'm getting used to it now.
20:37This is street vending,
20:38Emilio,
20:38is strictly prohibited.
20:40Please.
20:42Yeah,
20:42and park in the Mirubales area
20:43and look where your car is.
20:45Hey?
20:45No,
20:46I say that you do very well
20:47at school,
20:47Mr. John.
20:48Come on,
20:49see you later.
20:50We are nobody.
20:51The best always leave.
20:54Think
20:54that will now be in a better place.
20:58I almost preferred
20:58the hamburger thing,
20:59potato,
20:59medium soda.
21:00But Bethlehem,
21:01What are you dressed up as?
21:03In my new uniform.
21:04But it seems like he works here at the funeral home.
21:07Don't fuck with me, he works at the funeral home.
21:09Any problems?
21:10No,
21:11that goes.
21:11Look,
21:11So now I know you're not hooking up with any clients.
21:15Flowers!
21:15Flowers for their dead!
21:16Little girl,
21:16flowers for your dead,
21:17don't you want to?
21:18Flowers!
21:19Worth.
21:20Worth,
21:21Mrs. Navarro.
21:21You have to be strong.
21:22Can't.
21:23Can't.
21:24Hello.
21:25Nativity scene,
21:26Mrs. Navarro
21:27has just lost her husband.
21:32Take care of her,
21:32please.
21:34How are you?
21:45Don't worry.
21:47That life goes on,
21:48women.
21:53Think that now you will be in a much better place.
21:59Well,
22:00sit down,
22:00sit down.
22:01Sit down.
22:02Sit down.
22:02I'm going to show you some coffins that are very nice.
22:06Hey?
22:07Look.
22:08Look how cute this one is with the crosses.
22:11Hey?
22:13He didn't like it.
22:14Well, let's see what we have.
22:15But what are you doing?
22:17That's Natalia's bag.
22:18Shut up.
22:19Hey,
22:20José Miguel,
22:20how do you unlock this?
22:22Green key and asterisk.
22:23Green key and asterisk.
22:25But what are you going to do?
22:26Shut up.
22:29Leticia.
22:30Alvaro.
22:31This.
22:31Alvaro?
22:35No, no, I'm not Natalia.
22:38I'm Paloma, his mother.
22:39Yeah.
22:40Hey, look,
22:41The thing is, we're all a little upset about what happened yesterday.
22:44Yeah.
22:45No, it's just that my husband is a bit old-fashioned.
22:47But he really liked you, huh?
22:48Yes, I hope you fall.
22:49Well, Natalia thought you could come over for dinner tonight.
22:55Yes, well, to get to know each other a little better.
22:58Yeah.
22:59No, no, what are you going to bring?
23:01No, you don't need to bring anything.
23:02No.
23:03Well, bring some shrimp.
23:05My goodness.
23:06Yes, tonight.
23:07At nine o'clock.
23:09Okay, see you later.
23:10Goodbye, goodbye, see you later.
23:12But Natalia wasn't going to Marta's birthday party that night.
23:15Be quiet.
23:16How do you block this?
23:18Asterisk.
23:19Well, come on.
23:19Put the bag there on your sister's bed before she gets out of the shower.
23:23Run, come on, run.
23:24But you brought it.
23:25Don't answer me.
23:26I'm going to make myself some coffee.
23:38Funeral to come.
23:39Belén attends, how can I help you?
23:42Oh, my daughter, what a great shame.
23:45Oh, my Agustín, who has left me.
23:47Madam, I share your thoughts.
23:52Oh, will you come with me where, girl?
23:54No, no, no, no, I'm so sorry.
23:57Think that now you will be in a better place.
24:00Oh, I know you've left me very alone.
24:04Very alone.
24:06Well, not yet because he's here with me and he's taking it.
24:09Lady, you have to be strong.
24:11Oh, girl, but I can't gain weight.
24:13No, no, no, no, don't take anything.
24:15You leave it there, we'll come for it.
24:18Oh, what do I have to do now?
24:20Look, one uses those girls.
24:22Yes, yes, yes.
24:24We have a wide range of products.
24:26No, no, no, girl, but for me, please find me the cheapest one, the cheapest one.
24:30How much does it cost?
24:31Well, we'd be talking about the cheapest one, right?
24:35About...
24:36About 600 euros.
24:38600.
24:39Oh, oh, that's the cheapest one, man, huh?
24:43Well, it's just that...
24:44This, this is, this is very good quality.
24:48Oh, what bad luck I have.
24:50I bought you a refrigerator the other day and threw away the box.
24:53Well, ma'am, I think that...
24:55That it is worth making a small effort at these times.
24:58But how am I going to spend that money, if I was trying to bury it?
25:03Man, I think this occasion deserves it, don't you?
25:06Emilio, come out for a moment, I'm busy.
25:09I believe that your husband was a good person and deserves this and much more.
25:13What's up?
25:14And he cheated on me with my sister, who was uglier than me.
25:18But you'll be an idiot.
25:19Well, I'll call you another time, girl.
25:21Come on, goodbye.
25:22But, Belén, don't get angry, but it's so you can practice a little.
25:24Get out of here, get out of here.
25:25You look so pretty in that suit.
25:26Get out of here.
25:26You're going to laugh at whoever I tell you.
25:36Girl, how are you doing, the widow at the funeral home?
25:38But what is this?
25:45Vicenta, your food is burning.
25:48If it's not me.
25:49You come from the funeral home.
25:50They must be cooking something.
25:52No, it's from the crematorium, idiot.
25:54Oh, how disgusting, for God's sake!
25:57And me with the clothes hanging out?
25:58They don't have enough customers and they want to kill us all.
26:03It's a horrible black smoke coming out of your window and seeping everywhere.
26:06It's not our fault.
26:07According to the technician, it is due to a blockage in the building's ventilation ducts.
26:11And that is the community's responsibility.
26:13So fix it or we'll have to take legal action.
26:17Oh, and on top of that, he's going to sue us.
26:18We live off this and cremation is in fashion.
26:22Excuse me.
26:24And why do they put it in the oven?
26:26They say the microwave is faster.
26:28But let's see, Juan.
26:29We rule the community.
26:31And if these people don't leave by good means, they'll leave by bad means.
26:34Oh, oh, oh, what do you mean?
26:36What's the worst thing that can happen to a funeral home?
26:38Man, they should ban tobacco.
26:39No, let them lose a body.
26:42Paloma, darling.
26:43You're probably suggesting we rob a dead person.
26:45What a good idea, Juan.
26:46Tonight you organize everything, darling.
26:53Mr. Cuesta, I see loopholes in this plan, huh?
26:55If we should have put the boutique.
26:57Of course, I told him so.
26:59Mom, I love you so much.
27:01No, I love you very much and I rarely tell you.
27:03Hey?
27:04No, don't pass it to Dad.
27:07Come on, take care, a kiss.
27:08Oh, and turn off the gas.
27:10Auri, what is this?
27:12Have you seen?
27:13A treadmill for you to run on here at home.
27:14Look, it has different programs.
27:15Uphill, downhill, heart rate monitor, calorie counter, and refreshment slot.
27:20Mori, I don't want to seem ungrateful, but I like to go out for a run.
27:24But don't convince yourself that you could be run over by a car or robbed or raped on the street.
27:28Come on, at least try it.
27:30Let's see.
27:31Look.
27:32Now it's on.
27:33Have you seen how good it is?
27:34Ah, no, yes.
27:35That's pretty cool, huh?
27:35Of course, and if you have a heart attack, I can take care of you.
27:39Oh, speaking of attacks, speaking of attacks, put this on.
27:41What is it?
27:42The best invention there is, it cost me a lot to get it.
27:44Look, you feel sick, you press this button and an ambulance comes to get you, just like that, without any registration fees or anything.
27:49But how to carry this around?
27:51But yes, this is for older people who live alone, Mauri.
27:53And cell phones were for yuppies and now everyone has them?
27:56Okay, but stop it, I don't really feel like it right now.
27:59Okay.
28:00Yes, no, no, this is to speed things up, Mauri.
28:02Oh, well, this is going to be it, wait.
28:03Mauri, I'm going to slip, stop it.
28:05Hey, come on, stop it.
28:10Are you OK?
28:11If you feel sick, press the button.
28:14I don't know why we have to have dinner with the pigeon.
28:16I feel a great hostility towards this man.
28:19This boy, Juan, Álvaro is not that old.
28:21I just imagine her there with the girl and it makes me sick.
28:26Hello, come in.
28:28How are you?
28:28Wow, what shrimp!
28:30I'm going to have to freeze some for New Year's Eve.
28:33Hey, a little wine, great reserve of 82.
28:35Excellent!
28:36Come in and sit down, sit down.
28:38Hey, you're at home, huh?
28:39Just like home.
28:40Thank you.
28:42Hello.
28:43Hello.
28:43This is José Miguel, the little one.
28:45What's up, man?
28:46How are you?
28:48And Natalia?
28:49Well, he had a birthday, but he told me that we should go to dinner, and that later if that comes up, then we'll have it.
28:55Juan, open the wine.
28:56That the wine has to be aerated and breathe.
28:59Well, Alvaro, tell us.
29:01How did you meet Natalia?
29:03Well, she's my daughter's schoolmate.
29:05Oh, you have a daughter?
29:07Keep an eye on her.
29:08You never know who might be after her to get her into bed.
29:11Hey, you're not married, are you?
29:12No, no, I'm separated.
29:14My wife and I grew apart over time and...
29:18It's just that as soon as they turn 20, they lose interest.
29:21Juan, eat your soup, it's getting cold.
29:25Look, I understand that the age difference with Natalia could be an impediment.
29:30After all, I'm 38 years old...
29:3238 years old? Well, you're a kid.
29:35Besides, you're my age, huh?
29:36The important thing is that there is love.
29:38And the pill thing was yours, wasn't it?
29:40Of course, it's not the same with a condom.
29:44Juan, dad, the soup.
29:50I'm home now.
29:52How are you?
29:53Delighted with life, darling.
29:55And how are you, project manager?
29:57Very good, very good.
29:58The truth is that it is very good.
30:00Because this is bullshit.
30:04No one can stand this.
30:05I've been thrown into meetings.
30:06We've been stopped by some construction work because some Roman ruins have appeared in the garage.
30:10And why does the surveyor say anything?
30:12Damn, make cement and shut up.
30:14That guy will be on the fucking street tomorrow.
30:16What obsession?
30:17Ancient civilizations were all about burying everything.
30:20And some customers complaining because a crack has appeared in the wall.
30:23Damn, but he puts up some pictures, damn, like we all do.
30:27On top of that, with this suit I realized I have dandruff.
30:31Well, I went shopping with Alicia.
30:33I got a massage and ate at a delicious Arabic restaurant with my sister Elizabeth.
30:37Do you see it?
30:41They're really pissing me off again.
30:43Yeah.
30:45No.
30:46No, no, no, I don't know.
30:49Okay, fine, then send me a fax.
30:51Oh, no, no, no, I don't have a fax.
30:54Well, look, it doesn't matter.
30:55You know what I'm telling you?
30:56I turn off the phone because otherwise it's impossible.
30:57But who gave them this phone?
31:03I gave it to him, just in case there was an emergency.
31:12Leave me alone, damn it!
31:13No!
31:14Fuck!
31:16But who was Roberto?
31:17My mother.
31:18I can't go on like this, Lucía, I can't go on like this, my chest hurts.
31:21I'm going to have a heart attack.
31:23That's gas, where did you eat?
31:24But if I haven't eaten, I haven't had time.
31:26Look, Lucia, I admit it, you've won the job, you're better at this,
31:29you have a gift.
31:30No, it's just that I'm not going back.
31:32Ah, well, that's why I'm telling you, that you tomorrow...
31:34As?
31:35Roberto, I was happy today, I was very pleased.
31:38Can you believe I left my phone at home and didn't miss it?
31:41Of course, it's screwed us, that's why everyone's been calling me.
31:44Have you seen the funeral home they put downstairs?
31:46Yes, I'm going to go straight there.
31:48Well, I've been thinking and I've realized that life is only two days and you have to enjoy it.
31:52That I've been doing what I'm supposed to do all my life.
31:56And I'm going to turn 30 and...
31:58Well, I'm not entirely sure about things.
32:02And you couldn't have thought of it at another time?
32:05So, since I have a little money saved, I'm going to take a few months of vacation.
32:09Hey, hey, hey, wait, wait, wait.
32:10And what do I do?
32:11Well, what you're doing.
32:12Besides, my father is happy with you.
32:14No, no, no, no, no, no, no.
32:16Lucia, let's see.
32:17You are going to work tomorrow.
32:18No, I'm going to Istanbul for a week.
32:21To Istanbul?
32:22Yeah.
32:23Let's go, don't fuck with me.
32:23And also, tonight we're going out for a drink.
32:25We seem like epiblas to me.
32:27We never go anywhere.
32:29Look, Álvaro, since we trust each other because we're like family, I'm going to tell you something.
32:34Natalia will be taking the pill.
32:37But with the bad memory that you have, one day you least expect it you'll get her pregnant.
32:39Man, me neither...
32:40No, no, nothing's wrong.
32:42The important thing is that there is love.
32:43And speaking of everything, since your family has a lot of money and you'll have to launder your money, which I know, I'm going to tell you three words.
32:51Paloma, Urban, Fashion.
32:53You put up the money and I'll put up the talent.
32:55We started with three boutiques.
32:57One here, another in Marbella and another in Benidorm.
32:59And we hit the jackpot.
33:03Yes, well it is very interesting.
33:06But I have to get up early tomorrow and I have to...
33:08Look, wait a moment, I'm going to show you some drawings I've made.
33:13Listen, I think your wife is getting the wrong idea.
33:18You like my daughter's breasts, huh?
33:21Well, I think I'm going to leave.
33:22No, no, wait, I'm going to tell you three words too.
33:26You're a bastard.
33:29Dad, the soup.
33:30I don't want any more soup.
33:31A pleasure, really, a pleasure.
33:33Wait, where are you going?
33:34Thank you very much, thank you very much.
33:35Well, whenever you want, you know where we are.
33:39Mr. Cuesta, they're going to close the funeral home and you have to go steal the dead body.
33:42Fuck.
33:43And who is this?
33:44But why is he leaving? What did you tell him?
33:46You'll see when Natalia comes.
33:48I don't want to know anything.
33:49No, neither do I.
33:50Emilio, back to our thing.
33:51Wait.
33:58A boutique and a chalet, even if it is a two-story one.
34:02Is it too much to ask of life or what?
34:04When I have a girlfriend, I'm not bringing her here, no way.
34:07Emilio, you have the copy of the key, right?
34:08Yes, yes, but these guys haven't changed the lock.
34:11With this one I was already stealing movies from the video store.
34:13The thing is, I don't have a video.
34:16Well, we're sure of what we're going to do, aren't we?
34:18Look, as long as my mom lets me bother the funeral home, I'll do anything.
34:23Mr. Juan, I am a goalkeeper.
34:24I charge a supplement for teleconference work outside.
34:27You will do what you are told.
34:29Okay, it's declared.
34:29Pay attention, it's coming out soon.
34:35Emilio, let this be the last time you take the shampoo samples from the magazines left in the mailboxes.
34:40The temptation, Mr. Juan, if it was a two-in-one of those with a fabric softener and of course...
34:43It's a shame, man.
34:46Hello, Belén.
34:46Hello, what's up?
34:47Hello.
34:50Come on.
34:50We have to hurry up, I'm left, okay?
34:57This is the plan.
34:59You two go in through one body and I'll stay at the door keeping watch.
35:01Well, if someone comes, how do they let us know?
35:03Three quick knocks, someone's coming.
35:05Two fast and one slow, someone is coming, but he passes by.
35:07Two slow ones, one fast one, and two more slow ones, all clear.
35:09I haven't heard anything.
35:10Well, what does it matter?
35:11Let's go inside.
35:12If someone comes, whistle.
35:13Let it not be whistling.
35:14Why do you think he hit?
35:16Come on.
35:20Here comes Miss Rottenmeier.
35:29How are things at the office?
35:30Lots of atmosphere?
35:30Well, you should know that I love my job.
35:33It's the first time I've had the feeling of helping people.
35:36But they are dead.
35:37I console my family members, I comfort them, and I'm not bad at all.
35:43I am a good psychologist.
35:44Today my boss did this to me.
35:46And?
35:47That the burger manager in two months of working alone made me like this.
35:50I'm so glad I'm going to make peace with Emilio.
35:54Have you continued seeing him?
35:56No no.
35:57That?
35:57Have we left it?
35:58So you were dating.
35:59No, because he left me.
36:00What did he leave you?
36:02No.
36:02What has Emilio left you?
36:03No no.
36:04You're not twisting what I'm telling you.
36:06Did Emilio leave you?
36:07You can't go any lower.
36:12Damn, the day was so beautiful.
36:13Fuck.
36:14Damn, that's strong, Emilio.
36:16Damn, that's strong, Emilio.
36:16Damn, that's strong, Emilio.
36:20Fuck.
36:32Quick, quick.
36:34We went to pick up what else weighs, damn it.
36:36Where did we leave it?
36:37Where are we going to leave it?
36:37In the goal.
36:38But how about in goal?
36:39A little please.
36:40Damn, nobody's going to see it there.
36:42What do you mean no?
36:42I'll see it myself.
36:42Here it is perfectly.
36:53Yeah.
36:54And now what do I do?
36:55Should I put on the TV for a while?
36:56Think you're doing something good for the community, man.
36:58Tomorrow they'll sue those people and goodbye funeral homes.
37:01Fuck.
37:03Fuck.
37:06The night I spent with you here now with my cousin.
37:09If it's true.
37:11What a bad vibe, please.
37:12Emilio.
37:17What's happening?
37:18Can we talk?
37:19Of course.
37:20What's happening?
37:26Come on, everything is settled now.
37:28Let's go inside, I'm very happy.
37:30No, no, no, no, Belén.
37:32Wait, wait.
37:32But this is very hasty, isn't it?
37:33But how come I rushed it?
37:35If you've been asking me to get back with you for a week.
37:37Okay, come on, let's go to the movies.
37:38Let's celebrate at the movies.
37:39No?
37:40To the cinema, Belén.
37:40No?
37:41First things first.
37:42Then we go wherever you want.
37:44Nativity scene.
37:45That you cannot pass.
37:47But why not?
37:48Well, because I'm with someone else.
37:50Come on, Emilio.
37:51Belén, no!
37:52Nativity scene!
37:53Oh, Belén, no!
37:54What is this?
37:57These are the skis I'm taking to White Week.
38:02Wouldn't I have told you I was leaving?
38:07What is Mr. Navarro?
38:08But stealing a body from the funeral home?
38:11No, no, no, but I haven't been alone.
38:12They have only sent themselves.
38:13This was Mr. Cuesta's idea.
38:15You have to get this out of here immediately.
38:17Oh my God.
38:18I'm going to end up unemployed and you in jail.
38:21Damn, enough to start a family.
38:23Hey, Belén, I think it's better if we leave this again, don't you?
38:26But this stick is the one with the zipper.
38:28My God.
38:29Hey, where did we leave off?
38:33Where are we?
38:34Where are we going to leave it?
38:35Yes, someone is coming, someone is coming.
38:38To the cube!
38:39To the cube!
38:40To the green, to the green!
38:41What a killer hair!
38:42Run, run!
38:43Runs!
38:44Hello, couple.
38:46Hello.
38:47That?
38:47Are you coming for a drink?
38:48No, no way, thanks.
38:50We are dead tired.
38:51Yeah, yeah.
38:52So much love has exhausted you.
38:54Well, go on, enjoy life, it's only two days.
38:57Yeah.
38:59Tell that to this one.
39:01Oh my goodness, there's not much left.
39:02Hello.
39:03Hey, where are you going?
39:04To throw out the trash.
39:06What is this?
39:07What is it?
39:07Well, I don't know, these people who throw anything here.
39:10Let's see.
39:15But what's going on?
39:16Have you all gone completely crazy?
39:18But how could you think of stealing from a dead person?
39:20So they can report the funeral home and shut it down.
39:23Ah, very well, yes.
39:25And then what do you think you'll do with the body?
39:29Man, every plan has its weak point.
39:31Well, I don't want to know anything about that weak point.
39:34You're all going to end up in jail.
39:36Also, haven't you stopped to think that for once I have a job that I like,
39:40because of you I could lose him.
39:41I don't care about that.
39:43But going to jail worries me.
39:45And you have not also thought about the family of that poor man,
39:48who will be suffering and having a bad time.
39:50We're just ashamed to play hide-and-seek with his body.
39:53Man, it sounds really ugly when you say it like that.
39:55This guy is a lawyer and he turns everything around, man.
39:58Let's see.
39:59Indeed, what we have done is not right.
40:01Maybe we were a bit hasty.
40:02A bit?
40:03Mr. Cuesta, we're going to send Mr. Navarro back now that we have time.
40:06We're going to get into a tough nut to crack.
40:07Come on, come on.
40:09But now, but now.
40:10Juan!
40:13Where did you leave it?
40:14Here, in the trash can.
40:15And the trash can?
40:16Oh my goodness, what happened to the truck?
40:17What do you mean the truck passed by?
40:18That he is not so dead, that they have taken him.
40:19Oh, but how could they not have noticed?
40:21Because the buckets are emptied by the machine.
40:22The garbage collectors don't even notice.
40:24Oh, the virgin.
40:25Well, we have to recover the body.
40:26But why?
40:26To make meatballs if the trucks have a crusher.
40:28You see, Juan?
40:29We should have put the boutique.
40:30Well, what do we do now?
40:32I don't want any trouble.
40:33I'm going to give myself up.
40:34You, stay here quietly.
40:35Well, that man's family is coming to the wake tomorrow.
40:38Do you want to tell me what I teach them?
40:39Nothing.
40:40You have to convince them to cremate.
40:41And if they want to see it, you show them an urn.
40:44And if they need ashes, I'm here.
40:46My goodness.
40:49Two-foot-tall beard, two-day beard, dark-skinned, very handsome.
40:53Something must have happened to him for sure.
40:54Oh, it's here now.
40:55That is already here.
40:56Thank you very much and sorry, okay?
40:58Thank you, officer.
40:59But where had you been?
41:01Have you called the police?
41:02Man, if you tell me you're going to take out the garbage and it takes you 43 minutes,
41:05Either something has happened to you, or you're cheating on me with someone else.
41:07And in either case we're going to need the police.
41:10Mauri, we can't go on like this, okay?
41:11I mean, you can't spend all day thinking that something bad is going to happen.
41:13I know I can't think it, but I think it.
41:15Fernando, we are just like a steak out of the refrigerator.
41:18It is our destiny to decompose.
41:20Well, calm down.
41:20The funeral home downstairs did this to you.
41:22And that's it.
41:23It's going to disappear.
41:24How do you know?
41:25Well, I know.
41:27The neighbors who have set out and stolen a body.
41:30And what have they done with it?
41:32Well, to sum it up, the garbage truck took it away.
41:36Don't ask.
41:36Hey, if something happens to me, I'd rather be cremated, okay?
41:42No, don't worry, that will be a long, long, long time from now.
41:48You should have that mole checked out, huh?
41:52Dad, Mom!
41:54This has already been heard, I'm going to the bathroom.
41:56You stay, stay there, stay there.
41:57Álvaro just called me and broke up with me.
41:59Can you explain to me what happened?
42:01Well, honey, we couldn't have been nicer to him.
42:03Yes of course.
42:04And that's why dad tells him he's a bastard.
42:06and you have asked him to give you three boutiques.
42:08That has not been the case.
42:09Juan, tell him how things have been.
42:10I was having soup.
42:12Besides, who are you going to believe?
42:13To a stranger or to your parents?
42:15You need to answer.
42:16Natalia, that old man wasn't right for you.
42:18But why do you have to decide what's good for me?
42:20Because I'm your mother and that's it.
42:22And as long as you live under this roof, you will do as you are told.
42:25Hey?
42:25And so, explained, everything is very well understood.
42:29I have understood it.
42:31Look, that's going to stop being a problem.
42:32because I'm leaving this house.
42:34Natalia, it's not... either.
42:35Leave her, Juan, leave her, it's a bluff.
42:38Where else would he be better off than with his parents?
42:40Hey?
42:41Oh, look at this design.
42:43We could copy this, Juan,
42:44because it's from an Italian and he won't find out anyway.
42:47Good day.
42:54The alarm clock.
42:56Yes, darling, yes, I've heard that.
43:00I'm not going to work, okay?
43:01Oh, neither do I.
43:04Okay.
43:05Go with your conscience.
43:07You do your thing.
43:10Fuck!
43:11Seriously, you're the best.
43:14Well, don't go, come on, don't go.
43:16We're going to take a plane and go to Istanbul.
43:18And here we go with Istanbul, but Lucia,
43:20that we have a responsibility,
43:21that we are no longer children.
43:22Well.
43:24I look older, huh?
43:25Have you put your tie on your head?
43:27But you have to mature,
43:28that we're going to get married, damn it.
43:29Well, darling,
43:30about getting married quietly, okay, my love?
43:32No stress.
43:34Let's see, let's see, let's see, let's see.
43:35Hey, I've already told everyone.
43:37That my mother is already on a diet,
43:38that my aunt is making her dress
43:40and that my grandmother is so happy
43:41who has dropped the stick.
43:42Come on, if I tell him there's no wedding,
43:43He picks it up again and smashes it into my head.
43:45Relax, my love, okay?
43:47You have to be happy, my darling.
43:50What, what?
43:51Look, I'm leaving because I'm late,
43:54But then you and I are going to have a serious talk.
43:56Okay.
44:03Yeah.
44:04Yes, I'm coming, damn it.
44:07Well, tell the councilman to go have a drink.
44:18Well, you may know where you were.
44:19The widow is about to arrive.
44:21This one who spends an hour in the bathroom.
44:24Eduardo, could you step out for a moment, please?
44:29You have to entertain for a while.
44:30Yes, yes, don't worry.
44:32We are retired
44:33and our specialty is entertaining people.
44:35Alright.
44:36Yeah?
44:38These ladies who have insisted
44:40in dealing with you directly.
44:42Of course.
44:43How can I help you?
44:44Well, look, since we are already of a certain age,
44:46We wanted to find out a little about what this is all about.
44:49Ah, well, if you are so kind,
44:50sit here and right now...
44:51No, yes, we want to see the facilities.
44:54Embalming, above all.
44:56It's just that when it comes to makeup, I'm very much my own person.
44:58And the crematory oven, how many degrees does it reach?
45:01About 1,300.
45:03Yeah.
45:03There the cakes have to rise immediately.
45:08Oh, what a beautiful smile she has.
45:10It's unbelievable that I work here.
45:11Oh, don't push me.
45:13Ladies, ladies.
45:15Ladies.
45:15I'm staying here.
45:19Bethlehem, Bethlehem, the widow is here.
45:21Give me a catalog.
45:23Are you going to stay here?
45:24Yes, yes.
45:24I'll help you convince him.
45:25I arrive as a client.
45:26No, no, you're leaving.
45:27It comes in, it comes in.
45:28Pussy.
45:29Oh, good morning.
45:31We are here.
45:32How are you, Mrs. Navarro?
45:34Evil.
45:35Very badly.
45:36Oh.
45:37This is my sister and my daughter.
45:39Nice to meet you.
45:40Is the wake ready?
45:41Yes, yes, yes.
45:42Can we see my husband?
45:43Yes, but sit down for a moment.
45:46If this is too fast,
45:48while they prepare the little body
45:50and they put the little flowers on it and this...
45:53Oh.
45:54Have you considered the advantages of incineration?
45:58No.
45:59The truth is that we don't like it very much.
46:01We are very traditional in this regard.
46:04Well, it's the cleanest,
46:05the most ecological and the cheapest.
46:07Yes, I'll see you now, sir, okay?
46:08I have actually cremated my entire family.
46:10and with what I saved on niche
46:12I went on a trip to Aurodigny.
46:13Sir, will you let me work?
46:15Oh, sorry, sorry, ma'am.
46:16I share your feelings.
46:17Oh.
46:18No, don't worry.
46:19Look, we are supporters
46:21of normal burial,
46:23the one of a lifetime.
46:24But with how expensive land is.
46:25Hey, ma'am, sorry.
46:27And what team was your husband on?
46:29From Madrid. Why?
46:30Man, because there's an urn nailed here
46:31to the Champions League cup.
46:33Sir, I'm going to have to ask you.
46:34strongly recommend that you leave the American.
46:36No, no, no, sorry, sorry, ma'am.
46:37I share your feelings.
46:38Oh.
46:39Don't cry.
46:40The Champions League cup is here.
46:43Too bad.
46:45Let's see,
46:46you've been out of work for a day
46:47and you have sat well.
46:48What's the problem?
46:49Well, I feel guilty, Alicia.
46:50It's like there's no class.
46:52And what was wrong with skipping class?
46:54No, no, nothing, nothing.
46:56You have to learn to have fun, aunt.
46:58When you arrived here I hated you.
46:59Me? Why?
47:01So perfect, so hardworking,
47:03so responsible,
47:04with your little apartment, your boyfriend.
47:05It was to kill you.
47:07Excuse me, miss.
47:09But I see some hope for you.
47:11Oh yeah?
47:11You listen to me,
47:12what are you talking about
47:13with a true leisure expert.
47:15There is no need to feel guilty.
47:17Having fun is much harder than working.
47:19And on top of that, it's underpaid.
47:20Yes indeed,
47:21You feel like going to Istanbul, don't you?
47:23Well, talk to Roberto and you go.
47:24But I've already told you,
47:25but he can't.
47:26I've got the yuppie bug.
47:27Well, go by yourself.
47:28I?
47:29But how am I going to go to Istanbul alone?
47:30Or better yet, invite me.
47:32Oh, Alice.
47:33I don't know, besides,
47:34trips must be planned.
47:36Choose the other well.
47:36No, mistake.
47:38The truly lazy person does not plan,
47:40acts.
47:40Put four rags in a bag
47:42and to the airport.
47:43Yeah.
47:45I don't know.
47:47What I do?
47:48Go away.
47:49Juan, what do we know?
47:55What is known?
47:56Nothing, nothing is known.
47:57This scandal is going to cost me my job, Paloma.
47:59John, John,
48:01May I know what the dead man was doing in the bucket yesterday?
48:03Shut up, shut up, shut up.
48:03What a mess.
48:04The garbage truck took it away.
48:06What's up, man?
48:06I picked it up.
48:07You?
48:08And for what?
48:08So the truck doesn't take it away.
48:10I hid it in Emilio's closet.
48:12Come on.
48:12It must be returned before the widow arrives.
48:14Come on.
48:14No, come in, come in, come in.
48:16You come in, you come in.
48:17Oh, poor Emilio.
48:18Excuse me, but don't insist any further.
48:20My husband's last will
48:21was that we should bury him in his village.
48:24And that is sacred to us.
48:26Very good.
48:27But I warn you that between the transfer,
48:30the rental of the niche for ten years,
48:32the coffin, the flowers, the obituaries and the maintenance,
48:35we are talking about around 5,500 euros.
48:42Although I believe that also on some occasions
48:44You mentioned incinerating, right?
48:47Very good.
48:50Please cremate Mr. Navarro.
48:52Man, but we wanted to see it first.
48:54Oh, you should have told me before.
48:57This is fully computerized
48:58and it's a matter of seconds.
48:59Don't tell me.
49:00Look, it just came to me through the Urn Elevator.
49:06Here is your husband.
49:09Don't touch it yet, it might burn.
49:11But it is materially impossible that...
49:14Good morning.
49:16We bring Mr. Navarro.
49:18What do you mean by Mr. Navarro?
49:21Well, let's see if we can get this straight.
49:25Where did you have my husband?
49:27On the second floor.
49:28Hairdressing Section.
49:29It is a very large company.
49:31And then?
49:33What have they brought me here for?
49:35Who is it?
49:36This is...
49:37Is...
49:37He is a gentleman who has not come for him.
49:40and we had it here as a sample.
49:42Hey, Belén.
49:44What's going on here?
49:46That's what I say.
49:47This is a disgrace.
49:49I'm going to report you all.
49:51Please wait, madam.
49:52Surely there must be an explanation.
49:53You bet.
49:54And they're going to give it to the police immediately.
50:00Belén, why are the neighbors here?
50:05Belén, can you explain to me what's going on here?
50:08Well, we'll leave it here.
50:09And you're taking charge, right?
50:11Well, just a moment, just a moment, okay?
50:29Listen, just a moment.
50:31Please speak one by one.
50:33Otherwise, we wouldn't find out.
50:34Let's see what happens.
50:35This place is a disgrace.
50:37Excuse me, my lady,
50:37But I assure you that this is a very serious company.
50:39and that, of course, will not remain in this property
50:41not a single day more.
50:43The only shameful thing here is the audacity of these people.
50:45that they have been able to steal a body from my premises
50:48for who knows what that end was.
50:51You speak so well, damn.
50:52It shows at the university.
50:54Look, officer, they lost the body
50:55and we found it and returned it.
50:57Our security camera will prove that to be a lie.
50:59That?
51:00Was there a security camera?
51:01Well, I'm off. What's left for me, huh?
51:04That's a bluff, Mr. Juan.
51:05Why would there be a security camera in there?
51:06In case a dead person escapes.
51:07And if the recording does not serve as evidence,
51:09We would always have the testimony of our employee Belén.
51:12No, but Belén is our neighbor.
51:15He's not going to testify against us.
51:16If I keep my job, I'll declare whatever is necessary.
51:19I want to report this company immediately.
51:22And I want to denounce this community
51:23for robbery and vilification.
51:25And who do we report?
51:26Come on, police station, come with us.
51:28You too.
51:29Oh, you again, Juan!
51:30Mr. Cuesta, you look like a lute.
51:31Walk or bust.
51:32I reiterate my innocence
51:34and I have full confidence in our judicial system
51:36who defends honest citizens like me.
51:38And I say this without bitterness, okay?
51:39But I say it.
51:40This one won't shut up until we arrive.
51:42I'll take the car right now and go there.
51:45No, no, no.
51:45Don't move it, it's parked properly.
51:47Oh, don't worry, Paloma.
51:49This one will be back soon.
51:50Don't you see he's been marked?
51:51No, I'm going to the police station.
51:52I won't leave you alone, my Juan.
51:53Calm down.
51:55Hey, Belén, what you told me last night
51:58that you wanted to get back with me and all that...
51:59Forget me, okay?
52:01Okay, I forget you.
52:02But we stayed in the goal
52:03It's just that this math teacher's light turns me on...
52:05Emilio, you bore me, you bore me.
52:07Well, but love can do anything.
52:08Don't you see it's in the air?
52:09Belén, tell me something.
52:11Nativity scene!
52:12What a day, what a day, what a mess.
52:21Okay, Juan, but the important thing is that the funeral home people are leaving.
52:23But why has that judge been so cruel to me?
52:26600 euro fine for misappropriation.
52:29You see, what does he want a dead man for today?
52:30Don't worry, the community will pay for this.
52:32We add a levy and that's it.
52:33Hey, Natalia gave me a message for you.
52:36Which?
52:37And that he has left home.
52:39What has left home and where has it gone?
52:40He's with the two sluts upstairs.
52:43You have to pay me the rent.
52:47Natalia!
52:49Natalia, open up!
52:53Oh, sorry.
52:55Natalia asks me to let you know that she's no longer under your roof and that you leave her alone.
52:58Well, tell him the roof is the same, because it hasn't changed buildings.
53:01Correct.
53:02Natalia, I'm no longer speaking to you as a father, but as the president of the community.
53:07You have five seconds to get out.
53:08One, two, three, four, five, six, seven, eight, nine.
53:23Calm down, man, calm down.
53:24Let's see, what happened?
53:26Ten, eleven.
53:28But let's see.
53:29Twelve.
53:29What do you mean they took a coffee table from the pilot apartment?
53:32Fourteen.
53:33Of course, fuck.
53:35You have to keep an eye on your customers, please.
53:38Yeah.
53:39No, no, wait a minute.
53:40I'll call you now, they're calling me on the other side.
53:43Fuck.
53:45Yeah.
53:46Hello darling.
53:47Lucia?
53:49Yeah.
53:50What are you doing? Where are you?
53:51In Istanbul, my love. I'm in Istanbul.
53:53That?
53:54I left you a note on the fridge.
53:57Ah, yes.
54:00But it says here, I stepped out for a moment.
54:02Yes, it just hit me and I came, darling.
54:04Hey, wait a minute, okay?
54:06No, no, no.
54:07Listen, very expensive, very expensive.
54:09To alicate.
54:10Honey, I'm buying a rug.
54:11Oh yeah?
54:12What color?
54:14But hey, what do I care about color?
54:16Lucia, have you gone crazy?
54:18I'll be back next week, okay?
54:19I've already bought you a little present.
54:20But, Lucia.
54:22Honey, I'm hanging up.
54:23What is it that they are going to take us to see the Solima Mosque?
54:25Hey, hey, hey, hey.
54:26Watch out for the guides, eh?
54:27I've seen Turkish passion and that rhymes more than Juli.
54:29A little kiss, my love.
54:31A hotback.
54:32Oh, I'm happy.
54:33As?
54:39I am happy.
54:40And what about me?
54:41What do they give me?
54:45Man, Rafael.
54:49What have you done to my daughter?
54:51As?
54:51He just called me saying he's not coming back to the company and that he's in Istanbul.
54:54But what is there in Istanbul?
54:55Istanbul, what do I know?
54:56Hey, you didn't get him into some drugs, did you?
54:58Man, please, no, no, no, Rafael.
55:00Do you smoke joints?
55:01I'm your father-in-law and you can tell me.
55:03I'll kill you later, but you can tell me.
55:05But no, man, no.
55:07He told me he doesn't know what he wants.
55:08Man, it's with you.
55:09It's clear that he doesn't know what he wants.
55:11Listen, it's your fault that you're exploiting her in that hellish job.
55:13No, it's your fault, you're a mediocrity and you've infected her.
55:16But hey, didn't he say he was very happy with me?
55:18Am I happy?
55:19But you're useless.
55:21Man, say it a little louder, the ones downstairs didn't hear you.
55:24Yes, yes, we heard it.
55:25Roberto, because of you I lost my daughter.
55:29No, it's because of him that I lost my girlfriend.
55:32Give me a hug.
55:34Of course.
55:38He'll be back, right?
55:40I don't know, I say.
55:42Roberto, I want you to know that the most important thing to me is my daughter's happiness.
55:46And if she loves you, I love you too.
55:48Oh, by the way, you're fired.
55:53Oh!
55:54Thank you so much.
55:55521, 522, 523, 524.
56:09I took it, I threw him a sandwich.
56:10Ah, thank you, daughter.
56:13525, 526, 527.
56:16Juan, Juan, I don't think he's going to make it, huh?
56:20Leave her alone, she'll figure out what she has at home.
56:23I think you've already realized it.
56:25Oh, I don't remember what I wanted to tell you.
56:27Oh yeah, I was just thinking, now that the space downstairs is free...
56:32Yes, Paloma, we're opening the boutique.
56:34Oh, urban fashion, huh, my love?
56:37Urban fashion.
56:38What is that?
56:39Because I tell you this a lot, but I don't know what urban fashion is.
56:42Well, urban fashion.
56:43What I am, modern, urban, talented,
56:46with a lot of style,
56:47That is, we have made some drawings for you.
56:51There comes a time when daughters leave home,
56:53then the parents leave and the child takes control.
56:56It's the law of life.
56:56Dad, I'm not coming back.
56:57Let's see, what are you doing?
56:58Because look, the prince is already welcomed.
57:01Hi, Lucia isn't here, is she?
57:03Yes, he's going to stay at my house.
57:05And in your bed?
57:06I am the president of the community
57:07and my daughter copulating around the building.
57:10Oh, what's wrong with you?
57:11Mr. Cuesta, if something happens to me,
57:13that they donate my body to science,
57:15that I was never able to go to university.
57:16And how long are we going to be without a goalkeeper?
57:18I am an amador, the new goalkeeper.
57:20It's creaking.
57:21Look at that little ass she has.
57:23Man, aren't you going to compare this gentleman's suit?
57:24with the other's looks?
57:26He looks like a junkie, one of those stoners.
57:28But they're kicking me out, Mr. Juan.
57:30It's that we are going to lose the friendship of years and years for a man.
57:33Yeah.
57:34Hello, beautiful.
57:36Bye bye.
57:36Bye bye.
57:38But madam, what are you doing in bed?
57:40What do you think?
57:42You have no shame.
57:44Look what you've achieved.
57:45Yes, another man who left me hanging.
57:47It's up to you to ask.
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