- hace 3 meses
Reparto: Lina Morgan, Dyanik Zurakowska, Manolo Gómez Bur, José Luis López Vázquez, Antonio Ozores, Ingrid Garbo, Paco Valladares, Florinda Chico, Rafaela Aparicio, José Sacristán, Adolfo Torrado, María Álvarez, Antonio Pérez Bayod
Dirección: Mariano Ozores
Un teatro madrileño busca chicas de conjunto para crear una compañía de revista. A la prueba se presentan Catalina (Lina Morgan), una chica espabilada, inquieta e hija de una modista de teatro (Rafaela Aparicio), y Alicia (Dyanik Zurakowska), una chica inocente que estudió ballet en el extranjero y es hija de Cecilia Alcaraz (Florinda Chico), una famosa vedette retirada. Las dos candidatas se hacen buenas amigas y se ayudarán mutuamente para alcanzar la fama en el mundo de la revista, pero en el camino también llegará el amor, el cual a veces constituye un obstáculo en su profesión.
Dirección: Mariano Ozores
Un teatro madrileño busca chicas de conjunto para crear una compañía de revista. A la prueba se presentan Catalina (Lina Morgan), una chica espabilada, inquieta e hija de una modista de teatro (Rafaela Aparicio), y Alicia (Dyanik Zurakowska), una chica inocente que estudió ballet en el extranjero y es hija de Cecilia Alcaraz (Florinda Chico), una famosa vedette retirada. Las dos candidatas se hacen buenas amigas y se ayudarán mutuamente para alcanzar la fama en el mundo de la revista, pero en el camino también llegará el amor, el cual a veces constituye un obstáculo en su profesión.
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00:04:05Salmerón will then be the first actor and director.
00:04:08And if he had the grace with the public that he has to find capitalists, would he be on Broadway?
00:04:12Who will be the BD?
00:04:13They talk about Chuchi Vidal.
00:04:14She's very cute, but she has a coffee...
00:04:16Man, there's Castro.
00:04:19Hello, everyone!
00:04:20Hello, girl!
00:04:21Hello, girl.
00:04:24Are you gaining weight, beautiful?
00:04:26Chick?
00:04:27Hello, Valdes.
00:04:28Oh, Master Lopez!
00:04:29So you are one of us.
00:04:32Yes, I brought sheet music to rehearse with the girls.
00:04:34It seems to me that there is little we can do.
00:04:36I don't see good genre.
00:04:37Hello, monkey.
00:04:38Hello, Roberto.
00:04:40Okay, let's start taking off our clothes.
00:04:43Wait a moment, teacher, Salmerón is coming with the businessman.
00:04:46We are ready.
00:04:47The white horse is a blockhead and Salmerón is a blockhead.
00:04:50Pass, pass, Aldón.
00:04:52Forward.
00:04:54Salmerón, my dear!
00:04:56Castro!
00:04:57I didn't tell him, the best of the profession for his company.
00:05:00But how well you are preserved.
00:05:02Look, Castro, the best dance teacher.
00:05:05Choreographer.
00:05:05That, the best gorifo, forgafo.
00:05:07I mean, no, the best gorifo.
00:05:09Well, he's the best.
00:05:10Congratulations indeed.
00:05:11I've read the script and it's a sweetheart.
00:05:13A love!
00:05:14They're going to die laughing.
00:05:16It's funny.
00:05:17Man, funny!
00:05:18You can see the ingenuity, the spontaneity.
00:05:20That, the spin-no-day.
00:05:22He makes mistakes even off stage.
00:05:24Well, let's proceed to slowly choose the girls.
00:05:27You by my side, in case you have any preference.
00:05:29No, I don't understand anything about this.
00:05:31If they were tiles...
00:05:32Well, but they'll know what nice legs are.
00:05:34Oh man, that's right, of course!
00:05:35I can! Let's get started!
00:05:37Come on, mother, come on.
00:05:38Hurry up.
00:05:39Yes, yes, daughter.
00:05:39That they will have already started.
00:05:40Yes, listen, listen, one moment.
00:05:42Where are they going?
00:05:43We are from Banco Hispanoamericano.
00:05:45And we came to buy the theater.
00:05:47Mother, they take out the ten duros so that this gentleman can see that we have the capital in front of us.
00:05:50But what's all this party about?
00:05:52Aren't they choosing ensemble girls?
00:05:54Yes, but...
00:05:55Well, that's what we're here for, crazy.
00:05:58It's just not noticeable.
00:06:00Here, mother, let's go.
00:06:01Don't rush, they won't see any interest.
00:06:04Don't worry, daughter.
00:06:05Even if we arrive late, he's waiting for me.
00:06:06One moment, please.
00:06:07You can't get through.
00:06:08I do.
00:06:09And my daughter too.
00:06:10Because?
00:06:10I have orders.
00:06:11But, listen, young man.
00:06:12You know who you're talking to.
00:06:14I have...
00:06:14Well, shut up, son, shut up.
00:06:16Come on, baby, let's go.
00:06:17Yes, mom.
00:06:17But, well, who does she think she is? The Queen of Sheba?
00:06:22The queen of the magazine.
00:06:24Cecilia Alcaraz.
00:06:25The famous baby?
00:06:26And so famous.
00:06:27The best we've had in the country.
00:06:28Well, I could have had other moods.
00:06:29A right sweep, a left sweep, a turn and a swat.
00:06:33Come on.
00:06:37Say that again, baby.
00:06:42Fine, that's fine by me.
00:06:43Okay, that's it for you.
00:06:45That?
00:06:45That if the girl likes it.
00:06:47To take her away.
00:06:49But what a silly Rome.
00:06:51To hire her.
00:06:53Do you have the sheet music?
00:06:54Yeah.
00:06:55It's Lopez the Master.
00:06:56Take it away.
00:06:56Right now.
00:06:57Wow, Mrs. Cecilia.
00:06:59You here?
00:07:00Ah, it's you, Jesúsa.
00:07:02Yes, here I am.
00:07:03See you later.
00:07:04Come on, girl.
00:07:05Yes, mom.
00:07:06Look, it's Cecilia Alcaraz.
00:07:11Hello, everyone.
00:07:12It still hurts.
00:07:16Cecilia Alcaraz.
00:07:18The great Cecilia Alcaraz.
00:07:22It's Cecilia Alcaraz.
00:07:24I am Salmerón.
00:07:26He doesn't remember me.
00:07:26I worked with you on a cape flutter.
00:07:28It's possible, but I don't remember.
00:07:30Well, of course, I was just starting out then.
00:07:32Let's see if it falls.
00:07:32In the bullfight, I played the bull and you bullfought me.
00:07:36It is possible.
00:07:37He really can't remember me.
00:07:38I started by going with you.
00:07:41When it suits him, he remembers everyone.
00:07:45Is that your daughter?
00:07:48Can.
00:07:48That?
00:07:52Hello.
00:07:56That looks good.
00:07:57That would be a bedema.
00:07:59I'm going to introduce you to our businessman, Antón Pirulero.
00:08:03I mean, what nonsense?
00:08:05Retriever.
00:08:05The great Cecilia.
00:08:07What are you going to tell me?
00:08:08The number of times he applauded her as a student.
00:08:10I used to go to the key every day, but that was many years ago.
00:08:14Not so much, spirulero.
00:08:16But how can we serve it?
00:08:18Well, very simple.
00:08:19My little daughter who has insisted on being an artist.
00:08:21And I told her, my daughter, in the theater you have to start at the bottom.
00:08:24And how did you choose your outfit?
00:08:27Baby, Alicia, where are you?
00:08:29Here, mom.
00:08:30Come closer, these gentlemen want to test you.
00:08:32But hey, it is.
00:08:33It's in a good way, you shut up.
00:08:35Give the teacher your partichela.
00:08:37Yeah.
00:08:38But how is that girl on a bike going to work?
00:08:40Because his mother doesn't have a penny.
00:08:42The whole profession knows that.
00:08:44Poor thing, the wolves will eat her.
00:08:45Well, if his mother leaves, poor wolf.
00:08:51But with this he will do the test.
00:08:53Yes, master.
00:08:54Just a few marked bars.
00:08:56Is it bad?
00:08:57No no.
00:08:57Ah.
00:08:59But sit down, Cecilia.
00:09:00You are very kind, Salmerón.
00:09:04Silence.
00:09:06Clear the stage.
00:09:07Lake the chair for Cecilia.
00:09:11Whenever you want, master.
00:09:33What magazine is that from?
00:09:35I don't know.
00:09:36Maybe it's zarzuela.
00:09:38But I want to deceive that poor girl.
00:09:48What are you dancing?
00:09:49The band of the hours of the Yoconda.
00:09:51But Yoconda is a composer.
00:09:52I create a painting here.
00:09:53But what a horror.
00:09:54Shut up, crazy mouth.
00:09:55I think I'm going to have to break my teeth on some of them.
00:10:07You shut up.
00:10:08Don't start.
00:10:08Bravo!
00:10:21Bravo!
00:10:22I'm already moving you very well.
00:10:25It will be very useful to us, won't it, Don Antón?
00:10:28Yes, yes.
00:10:29For the number of chestnut trees in La Morra, very good.
00:10:33Now we, mother.
00:10:34I have to give that lamb a hand.
00:10:37What's up, Lopez?
00:10:38Hello, teacher.
00:10:40I am the daughter of Jesus, the tailor.
00:10:42Nice to meet you, Mr. Dine.
00:10:44Do you remember me?
00:10:45Yeah, man, sure.
00:10:46If I took dinner to my mother when I was with you at the Martín.
00:10:49Of course, naturally.
00:10:50You are Catalina.
00:10:50The same one you saw.
00:10:53And it fits.
00:10:54The girl is very cute.
00:10:56Congratulations, sir.
00:10:57You're going to make a fortune.
00:10:58This show will give you millions.
00:11:00Ready, Master López?
00:11:01Okay.
00:11:03Hello.
00:11:03Nice to meet you.
00:11:06Forewarned, master.
00:11:07Frame 3 of nail.
00:11:08One, two, three!
00:11:14The girl from the seventeenth square of Tribulete
00:11:18He has us with his toilets, in turmoil in the neighborhood.
00:11:22People are already criticizing her, because she has been explaining to us for a long time.
00:11:26where the girl is going.
00:11:28Also for such.
00:11:31Slowing down, teacher.
00:11:32That's why the neighbors.
00:11:35She starts to mutter about dinner and seeing her so composed, they say it as they pass by.
00:11:45Where does the seventeen year old girl go, where does she get the money to stand out so much?
00:11:53But she says, seeing her so composed, that she wants to take in fish, that they get wet, she will bring it.
00:12:02She who wants to take in fish, let them get wet, will bring it.
00:12:06Seeing her so composed, the girl from the seventeenth square of Tribulete will tell them to get wet.
00:12:15The girl in seventeen wears taupe shoes, high-crested hats, and fish-colored and gray coats.
00:12:18The capritilla gloves, silk stockings with herringbone pattern and the girl dressed like in Paris.
00:12:28Slowing down again.
00:12:29That's why the neighbors start gossiping and when they see her so composed they say to her as they pass by.
00:12:44Where does the seventeen-year-old girl go, where does she get the money to stand out so much?
00:12:51But she says, seeing her so composed, that she wants to take in fish, that they get wet, she will bring it.
00:13:21But she says, seeing her so composed, that she wants to take in fish, that they get wet, she will bring it.
00:13:29She who wants to take in fish, let them get wet, will bring it.
00:13:44Look.
00:13:46Well, the truth is that the poor guy was already very old, wasn't he?
00:13:49No, the piano didn't break completely, but it left the double bass flat.
00:13:56Despite everything, I have already been admitted and I am a vice-soup.
00:13:58Well I'm sorry, because how do I tell my father that I want to marry you?
00:14:02Well, in Spanish.
00:14:03And very strong.
00:14:05Let's see if your father believes that vice-tiple is the same thing as pilingüe.
00:14:08You know how my father is, old-fashioned chapahoga.
00:14:11I told him that the term "grocery store" was old-fashioned, and that it should be called "supermarquez."
00:14:16Look, look, the canine is already moving from there.
00:14:20Besides being an old chapahala, your father is a beast.
00:14:23Catalina, why did you sign up for vice-soup?
00:14:27Because you have to eat every day, son.
00:14:29You don't understand that, because you have plenty of food and hands.
00:14:33And are you going to be away for a long time?
00:14:35What do I know?
00:14:37You have to try the premiere in the provinces, then come to Madrid.
00:14:40But they don't give us any explanations.
00:14:43Irrations.
00:14:44Come on, man, don't be like that, I'm not leaving yet.
00:14:47There are still 15 days of rehearsal left.
00:14:48Well, we can.
00:14:50We can, but we don't want to.
00:14:53And here, go prepare my order, I'm running late.
00:14:58Come on, the day my father gives up and I do your shopping without charging you anything...
00:15:03It pulls out your canine, woof, woof, it moves.
00:15:07We paid for the gesticulating section.
00:15:12Catalina, that's 30 duros.
00:15:14Come on, cheer up and I'll give you a kiss.
00:15:16But without a hug.
00:15:18A telekiss, which means a kiss from a distance.
00:15:28When I kiss you, what do I put on?
00:15:31What do I wear?
00:15:32I'm getting in too.
00:15:34I put on...
00:15:36Oh, I'll have a little can of foie grasé that I love.
00:15:39Pocujá, tough cat, cagatalina.
00:15:41Come on, woman.
00:16:08That the last ones are left without hangers.
00:16:11The thing is...
00:16:12Cheer up, girl.
00:16:14You do what I do.
00:16:15Come with me.
00:16:15Runs.
00:16:18My name is Catalina.
00:16:20My mother is Jesús Salasastra.
00:16:21I, Alice.
00:16:22My mother is...
00:16:23I know, the metacarpal.
00:16:25Oh, sorry.
00:16:26But your mother has always been called the metacarpal because she was a bone.
00:16:30And what are you doing here?
00:16:32I like the theater.
00:16:33Bah, you said it as if you were saying, I love potassium cyanide.
00:16:38My mother wants me to be an artist and says I should start from the bottom.
00:16:42Look, Duchess, it's no disgrace to work for food.
00:16:46The bad thing is to dishonor oneself to eat without working.
00:16:49Well, sit back here and don't talk loudly.
00:16:52The dance teacher is bothered on stage by the vice-piple's mothers.
00:16:56But let it be the same for everyone.
00:16:59Come on, Jesus, don't give me any trouble.
00:17:00Hey, yes, the famous vedette will also come here, I suppose.
00:17:05She is famous and she is a star.
00:17:07After all, your daughter is just a vice-piple like ours.
00:17:11Not that.
00:17:12Like yours, no.
00:17:14There are differences.
00:17:16You're right, there is.
00:17:18Because none of our daughters have such a poultice of a mother.
00:17:21Let's get started, popcorn.
00:17:25Let's get started.
00:17:26Come in, come in.
00:17:27Come in, come this way.
00:17:28Hello, Mercedes.
00:17:30What's up, teacher?
00:17:32Chuchi!
00:17:33Chuchi Vidal, girls, our very first star.
00:17:37How are you, dear?
00:17:38Very well, Castro.
00:17:39How very well?
00:17:40Phenomenal.
00:17:41Hey, don't lose any more weight, you're right at your weight now.
00:17:44It's just that I just finished making a movie and waking up early is killing me, you know?
00:17:47Yeah, well you're the only one who makes movies.
00:17:49Well, how about here?
00:17:51Well, last night he said to me, what kind of outfit are we wearing?
00:17:53And I told him, well, come tomorrow and see it.
00:17:55Well, what a joy!
00:17:57Girls, girls, line up because the first starlet wants to meet you.
00:18:01Attention, danger ahead.
00:18:03Because it seems to me that the star should be worried.
00:18:04Shut up, Lamb, do you want to keep up with the company?
00:18:07Well, shut up and do what I tell you.
00:18:09What's happening?
00:18:10The star reviews the group.
00:18:13And whoever is cute and has a good figure...
00:18:16And the salary increase?
00:18:17They throw her out into the street.
00:18:19Not all showgirls do that.
00:18:22But some that I know did in their time.
00:18:26And why?
00:18:28Inferiority complex.
00:18:30They don't want girls in the company who can overshadow them.
00:18:34This one is very cute.
00:18:40What's your name, beautiful?
00:18:42Maria Martinez, at your service.
00:18:47Very interesting.
00:18:48Write down his name, Valdés.
00:18:50Yes, ma'am.
00:18:51That's my daughter.
00:18:52Well, consider it goodbye.
00:18:53And what is this young woman's name?
00:18:59Well this one...
00:18:59It's fixed...
00:19:00It doesn't matter, she's very cute.
00:19:14That's his daughter.
00:19:16Peaceful.
00:19:18And the name of this young woman?
00:19:20Catalina Bellavista at your service, Miss BD.
00:19:23Nice to meet you.
00:19:24Nice to meet you.
00:19:25Nice to meet you.
00:19:27Do you have that one?
00:19:30This BD is nice, isn't it?
00:19:32Do you think it will have worked?
00:19:36Peaceful.
00:19:37You and I with this company are leaving for the provinces in fifteen days.
00:19:41Two magazine girls
00:19:43And they dance without equal
00:19:47Neither sings, nor laughs, nor dreams
00:19:50Neither sings, nor laughs, nor dreams
00:19:50Neither sings, nor laughs, nor dreams
00:19:50Neither sings, nor laughs, nor dreams
00:19:51Neither sings, nor laughs, nor dreams
00:19:52Neither sings, nor laughs, nor dreams
00:19:54Oh yeah, I know.
00:19:57Be very careful, you already know how men are.
00:20:00Yes, mother.
00:20:02Very nice.
00:20:03What am I serious about, Catalina?
00:20:05Come on, listen to me, be careful.
00:20:07From the theater to the boarding house, from the boarding house to the theater.
00:20:10And how am I doing?
00:20:11By plane?
00:20:12I'll have to go down the street, love, I say.
00:20:13Hey, Castro is missing.
00:20:15No, sir, he's traveling in the businessman's car.
00:20:17Well, why don't you tell me that I'm the director?
00:20:19Go, with the baby.
00:20:20Be very careful.
00:20:22From the theater to the boarding house and from the boarding house to the theater.
00:20:24Yes, mom.
00:20:25I'm also going with Catalina, who knows everything.
00:20:27I'll talk to her.
00:20:29It doesn't stop until Alcala de Nárez.
00:20:31Yes, Mom, yes, I'll be good and I won't eat chocolate.
00:20:34Good morning.
00:20:34They will be until now.
00:20:36Mother.
00:20:37Good morning.
00:20:39Catalina, I know you've made friends with my daughter.
00:20:41More than that, Mom.
00:20:42It helps me, it protects me.
00:20:44And I thank you for that.
00:20:46But I wanted to tell you...
00:20:48Excuse me.
00:20:54Catalina, my daughter is, how should I say it?
00:20:57A bit...
00:20:58A bit of an idiot.
00:21:00Shy, timid.
00:21:02I know I haven't been nice to your mother at times, but...
00:21:04Come on, don't worry, Mrs. Metacarpiano.
00:21:07Oh, ma'am, this ma'am, what was the dog's name?
00:21:09I like your daughter.
00:21:12I will be like her guardian angel.
00:21:15Come on, we'll be inseparable like...
00:21:17How would I tell him?
00:21:19Like Daoiz and Velarde.
00:21:21Like Muñoz and Real Madrid.
00:21:23Like Rizki and Korsakov.
00:21:25OK?
00:21:25That's what I wanted.
00:21:27And I thank you for that.
00:21:28Let's go!
00:21:29Come on, come on, hurry up, let's go to the tocas.
00:21:32Come on, let's go to the tocas!
00:21:33Come on, let's go to the tocas!
00:21:34Come on, let's go to the tocas!
00:21:35Watch out, people!
00:21:36Watch out, people!
00:21:37Watch out, people!
00:21:39But girl, where are you going?
00:21:40Why don't we get further ahead?
00:21:42The front seats are for the important people of the company.
00:21:44The baby is missing.
00:21:45The businessman takes her in his car.
00:21:46Oh yeah?
00:21:47How kind!
00:21:48Don't be a fool, Alicia.
00:21:49The Dalanton Pirulero is looking for his tickles.
00:21:51And are you going to find them?
00:21:52Sure, she's very ticklish.
00:21:54Let's get started!
00:21:54Bye bye!
00:21:55Goodbye, Mom!
00:21:56Bye bye!
00:21:57Bye bye!
00:22:19No way, beautiful!
00:22:21No, no, no!
00:22:22Let's see if we're paying attention, darlings.
00:22:23Soce, soce, kick.
00:22:26Soce, soce, kick.
00:22:28Step to the side, to the side, to the side and back.
00:22:32Come on!
00:22:33I'll mark three for you.
00:22:35One, two, three!
00:22:37Come on!
00:22:38That is!
00:22:40Ah!
00:22:40Ah!
00:22:42If there are no more dressing rooms, woman, what do you want me to do?
00:22:45Well, I have the right to have one for myself.
00:22:47And I don't dress up with the girls in the group.
00:22:49They are not my kind.
00:22:50Damn!
00:22:51What's happening?
00:22:52Two bulbs for my spotlight.
00:22:53What are you saying?
00:22:54No, no, nothing, just nerves.
00:22:55That the sternos destroy my nerves.
00:22:57I don't look good in my room and they should bring me another one.
00:22:59It's okay, isn't it?
00:23:00Well, we have them and we are ready.
00:23:02Your breathing is joyful.
00:23:05So you forget about bills of exchange.
00:23:08To take the tension away from you.
00:23:12So you can leave your mother-in-law at home.
00:23:16So you can escape pollution.
00:23:20That's the magazine.
00:23:23Woman is luxury and luxury and luxury and light.
00:23:41Silks, lace, color and sequins.
00:23:45So that you forget my worries.
00:23:49We are happy with the sea.
00:23:59We are happy with the sea.
00:24:09Just a moment, just a moment.
00:24:10Let no one leave.
00:24:11Salmon?
00:24:12Tell me, Chuchi, yes.
00:24:13Tell me, baby.
00:24:14I don't debut like this.
00:24:15Because?
00:24:15What's happening?
00:24:16Who is the star here?
00:24:17Who is it, Antón?
00:24:18I don't understand much about this, but I think you do, don't you?
00:24:20He found them.
00:24:22The fact that?
00:24:22Are tickling people called by their first name now?
00:24:24Already?
00:24:25On a 50-kilometer trip without a car?
00:24:26Come on, there are people who use the familiar form at the subway stop.
00:24:28The star has to be in the center.
00:24:30Alone!
00:24:31Okay, and that's how you're positioned, love.
00:24:33No, we are peers.
00:24:35And it has cost me a lot to earn my position.
00:24:37So now they pair me with no one.
00:24:38If you don't fix this, I won't debut.
00:24:40But, Chuchi, Chuchita, don't be crazy, woman.
00:24:43It's not that I fall, that I kill myself, that I get hurt.
00:24:45Chuchi, Chuchita, woman, listen to me, I'm risking everything.
00:24:48The magazine will start working when it is only made by men.
00:24:51But if there is no problem, a girl stands out from the group and is at peace.
00:24:54Yes, but which one, which one?
00:24:55Anyone, the point is that it is, no, Nech.
00:24:57Clear.
00:24:59Now, since this chick is the daughter of a great star, they'll put her in the role.
00:25:02Sure?
00:25:03To take advantage of the name.
00:25:04Ah, come on, what...
00:25:06Boss, boss!
00:25:10What's the point of calling me a fool?
00:25:12You shut up.
00:25:13And get ready to put on three more flaps.
00:25:16Hey, what does this what say?
00:25:18Yeah.
00:25:19Well.
00:25:20He came back affirmative, but tell him.
00:25:21Well, everything is fine.
00:25:22This, Miss Alcaraz, at the end you will move forward with the times and you will stand here on the right side, eh?
00:25:28Well, the essay is over.
00:25:30We premiere at eleven in Pinto.
00:25:32Come on.
00:25:32I don't understand anything.
00:25:33Chata, you're dumber than dipping bread in garlic soup.
00:25:35But you don't realize it.
00:25:37You haven't even made your debut yet and you've already taken a step towards fame.
00:25:38Why? I don't understand.
00:25:39Oh, go and take the hat so they can put some more flaps on you.
00:25:43So that?
00:25:43But you don't realize it.
00:25:44In the army, rank is measured by stars and in the magazine by lapels.
00:25:48Come on, let's go, chick.
00:25:50Please be careful.
00:25:53Be careful, don't treat me.
00:25:54Go!
00:25:55Be careful, don't treat me.
00:25:56Go!
00:25:57Put on a little more blush.
00:26:00Catalina, I'm going to look like a real slut.
00:26:03Come on, shut up.
00:26:04You keep quiet and listen to the voice of experience.
00:26:08I'm so nervous.
00:26:10My pulse is shaking.
00:26:11That means you have theater in your blood.
00:26:13She who doesn't get nervous before stress can withdraw.
00:26:16Of course, those of us who have experience...
00:26:19Don't you get nervous?
00:26:21I?
00:26:21No, woman, how am I going to get nervous with my experience?
00:26:26So why have you been putting glitter on your hand for a while now?
00:26:28Hey?
00:26:31The hand?
00:26:32I don't know, I love it.
00:26:33I always put some on before I go out.
00:26:35No, no, no, no!
00:26:36Because?
00:26:52Don't worry.
00:26:53Don't worry, Manolo, you've got them in the bag.
00:26:54But how am I going to have them anywhere if I haven't even left yet?
00:26:56Man, the Guadalajara crowd loves you.
00:26:58Come on, I say.
00:27:00It's just that as soon as they come out, they throw out these little verses that seem to be written with their hooves.
00:27:03How's it going, Salmerón? How's it going?
00:27:06What do you think of my verses?
00:27:07I made them myself while eating.
00:27:09Alpha, alpha, of course.
00:27:10What do you say?
00:27:11No, I say that the...
00:27:12Very, very good.
00:27:13Hey, I notice you all are very nervous.
00:27:16No, no, no.
00:27:17Why am I releasing the premiere?
00:27:18Theater premieres are always like this, but it doesn't affect me at all.
00:27:22And that's something to get nervous about.
00:27:24You guys would like to be rained on when you have to hand over a building that was built with half the budgeted money.
00:27:30In those moments we all tremble.
00:27:32Nervous.
00:27:34Also, but above all because if half of the planned beams have been installed, the floor will do so.
00:27:39Boom, boom, boom!
00:27:41Well, don't worry, I'll go now, okay?
00:27:44Now I'm going.
00:27:44Let's see.
00:27:45Saint Alexius, Saint Alexius, rabbit's foot.
00:27:48Don't let them say anything.
00:27:49San Roque, San Roque, I'm not mistaken.
00:27:51Thank you so much.
00:27:51Come on, Manolo, come on, come on, come on with them.
00:27:58Know?
00:27:58Come on, come on.
00:28:03Ladies and gentlemen, I don't intend to tire the audience, but I'm here to speak because I'm going to present a musical revue that's not bad at all and that aims to offer a loyal tribute to the great Chuchi Vidal.
00:28:18He offered her more, serving her martially.
00:28:20That is, the company is in a lull.
00:28:24He has denied even a peace.
00:28:26That is, the until.
00:28:27I mean, gentlemen, huh?
00:28:28Here it begins.
00:28:31That's the magazine.
00:28:34Thank you very much, thank you very much.
00:28:36What night, Manolo?
00:28:39You have eaten olives.
00:28:41The verses of this Calderón de la Berca.
00:28:44Perfect, they are the same ones who have leaned out.
00:28:46Step, step, step.
00:28:51Come on, come on, come on, girls ready.
00:28:53And smile, lots of smiles.
00:28:55So.
00:28:56Shut your mouth, teacher.
00:28:58It looks like they've opened a piano.
00:28:59We are singers of the Lusitanian land.
00:29:07We bring songs from the air and the sea.
00:29:10We are filling the balconies and windows.
00:29:14From melodies of ancient Portugal.
00:29:17Porto fills the hillsides with red wine.
00:29:22The coast is covered with red flowers.
00:29:26The gorge is green, its two banks are green.
00:29:29The two colors of the national flag.
00:29:33Because your entire land is a charm.
00:29:37Because, because he marvels at you, he sees you well.
00:29:40Oh, Portugal, because I love you so much.
00:29:44Because, because he envies you in all of them.
00:29:46There's no reason why.
00:29:48Maybe your women are beautiful.
00:29:51Mouth closed.
00:29:51It will be, it will be that wine gladdens the heart.
00:29:54Mouth open.
00:29:55Do your pretty roses smell good?
00:29:59It will be, it will be that it is bathed in sunshine.
00:30:04Kick, kick, baby with sensitivity.
00:30:07I'm a vice-terrorist, not a midfielder.
00:30:10How's it going? How's it going?
00:30:11Good, eagle eye, but my ice is melting.
00:30:13It will be, it will be that it is bathed in sunshine.
00:30:17But girl, where are you going?
00:30:33Say hello, I'm clapping.
00:30:35We never say hello and hurry up, we have to change our clothes.
00:30:37And why do we have to run?
00:30:38Because we are always running.
00:30:40But let's hurry, it seems you're doing something clean.
00:30:42Come on.
00:30:50Yeah.
00:30:50Alicia, hurry up.
00:30:51I'm coming, I'm coming.
00:30:52Come on, papilla.
00:31:05How tired.
00:31:06Well, daughter, you soon start to get tired.
00:31:08There, there, there, there, look, don't push.
00:31:17Come on.
00:31:27But why do you put the dressing rooms on the third floor?
00:31:30Because there is no attic in this theater.
00:31:31Come on, let's go.
00:31:38Since I left Madrid I have lost two kilos.
00:31:40Well, be careful, you might lose your bun.
00:31:47I give up, I give up.
00:31:48Shoot me.
00:31:49I prefer, I prefer to be shot.
00:31:50Come on, there are only nine numbers left, woman.
00:31:55Oh, Catalina, I can't move, I can't move.
00:31:57Well, cheer up, there are nine floors in the boarding house, daughter.
00:32:01No, no, no.
00:32:03Don't worry, we'll give you oxygen in the dressing room.
00:32:05Come on.
00:32:08Watch out, flat, you're stepping on my tail.
00:32:11Thank goodness they gave us a day off.
00:32:13Come on, cheer up.
00:32:14Watch out, flat, you're stepping on my tail.
00:32:44No problems, no worries, and no intentions of making things bitter.
00:32:51With creations, with evolutions, with aspirations to bring joy.
00:32:58So you can forget about bills of exchange, so you can get rid of the tension.
00:33:04So you can leave your mother-in-law at home, so you can drown in pollution.
00:33:12That's the magazine, unparalleled groups.
00:33:19Beautiful legs, with laughter of joy, against the anguish of life.
00:33:25This is the magazine, women, luxury and light.
00:33:34If you give lace, bright color fires, so that you forget my stillness.
00:33:40Yeah, well, what artists.
00:33:48We are extremely happy.
00:33:52We are extremely happy.
00:33:54We are extremely happy.
00:34:25It has been, especially when you did it like that with your hand.
00:34:27Just a moment, miss, we need to talk.
00:34:29Go on, babe, I'll go now.
00:34:30Yes, yes.
00:34:31What's wrong, teacher? What did I do wrong?
00:34:32No, no, no, you were very good.
00:34:35I needed to talk to you about your friend Alicia.
00:34:37Wow, master.
00:34:39Well, be careful, the girl is very decent and her mother has asked me...
00:34:41Stop, stop, stop, baby.
00:34:43I won't deny that the girl is cute, but...
00:34:45Don't follow.
00:34:45That monkey won't climb his tree.
00:34:47That is not beautiful over there.
00:34:49In confidence.
00:34:50What do you think of Chuchi Vidal?
00:34:54In confidence?
00:34:55It's a firecracker.
00:34:57A firecracker?
00:34:58As if we debuted with it in Madrid, we lasted three days.
00:35:02OK.
00:35:02And?
00:35:03I'm not stupid and I've noticed that you want to help Alicia.
00:35:06Would you like to see her go up?
00:35:08Like a rocket.
00:35:08Well, I'm willing to rhyme leys to that rocket.
00:35:12You?
00:35:13And why?
00:35:15I could tell you that I love the theater.
00:35:17Or that I hate Chuchi Vidal.
00:35:19Oh, or what Alice likes.
00:35:21Also.
00:35:23It would also be worth it.
00:35:24Anyway, we collaborate.
00:35:26Let's collaborate.
00:35:27But Alice is forbidden to you.
00:35:29In principle.
00:35:30That's my thing.
00:35:32Well, we'll continue talking on the bus tomorrow, okay?
00:35:35What's happening?
00:35:52Have we arrived in Soria?
00:35:53No.
00:35:54Alicia, the teacher and I have been thinking.
00:35:56Why do they do that?
00:35:57It's bad.
00:35:58Very clever, go on, shut up.
00:36:00The teacher and I have decided that you should be a great pede.
00:36:03Well, when they sober up, call me.
00:36:07Teacher, what does it take to succeed?
00:36:09Figure?
00:36:10Does it triumph?
00:36:11Youth?
00:36:12He is missing his pacifier.
00:36:14What dance?
00:36:15Good?
00:36:17The poloba at his side.
00:36:18A frog.
00:36:19Musical notions?
00:36:20Oh, he plays the piano, the trombone, the zambomba.
00:36:24Some culture.
00:36:26Oh, he speaks three languages.
00:36:27Four.
00:36:28Better?
00:36:29Beauty?
00:36:30Is that it?
00:36:31That's right, you see, I'm pretty for a while.
00:36:34Modesty, none.
00:36:35Has everything it takes to succeed.
00:36:38To succeed in anything, Catalina, you have to be smart.
00:36:42I'm a rascal, I'm a rascal.
00:36:44And the teacher can be intelligent.
00:36:47For now, you're going to learn the third star's two songs.
00:36:51You have to go very little by little.
00:36:52And how do we convince the third star to give me the position?
00:36:55Or convince her, maybe we can't, but...
00:36:59What if the poor thing has an accident?
00:37:01No!
00:37:01Very good idea, of course.
00:37:03We could say she's a sleepwalker and throw her off the moving bus.
00:37:07She is hateful.
00:37:08He treats us all like a bitch.
00:37:10And there's no need to kill her completely.
00:37:12It is also true.
00:37:14By killing her...
00:37:16...just a little bit...
00:37:17Yes, indeed.
00:37:42Oh, my leg!
00:37:45This girl has always had bad luck.
00:37:47Oh, oh, oh!
00:38:00Poor little thing, what can you do?
00:38:01No, no, no, no, no.
00:38:31I'm like nailed to the ground.
00:38:32I wouldn't move for anything in the world.
00:38:36No problems, no worries...
00:38:38But wasn't this girl knock-kneed?
00:38:40Yes, with so much traveling it will have been corrected.
00:38:42I say.
00:38:47Come on.
00:38:48Okay, mom.
00:38:50Come on, that...
00:38:51Listen, your protégé isn't doing badly.
00:38:53I am the second star.
00:38:54And if it weren't for the fact that I know the ground I'm standing on, I'd be worried.
00:38:57Well, worry, because the ground you're standing on will collapse when you least expect it.
00:39:04Well, let's go, let's go.
00:39:05117, 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129, 130.
00:39:26I can't take it anymore.
00:39:27Come on, girl, we have to get to 200.
00:39:29158, 172...
00:39:31I'll open.
00:39:32How are you?
00:39:33There are always a lot of students in a boarding house.
00:39:35I am Castro.
00:39:36And thieves.
00:39:39We don't have a spare toothbrush.
00:39:41We do not lend soaps or colognes.
00:39:42We have no cigarettes or matches.
00:39:44We don't even want conversation.
00:39:46Do you have any other excuse for wanting to come in here at midnight?
00:39:48Yes, I'm afraid of the bogeyman and I can't sleep alone.
00:39:52Come in, come in.
00:39:53Such a stupid idea would never have occurred to me.
00:39:56To the point.
00:39:56To the point, to the point, to the point.
00:39:58What more could I want?
00:39:59I already have the plan to finish the second one, baby.
00:40:04If we get him to bite his tongue, he'll be poisoned, for sure.
00:40:07No, it's simpler.
00:40:08Have you noticed a compact she has?
00:40:10Yeah.
00:40:10Have you noticed that powder is used to powder your nose?
00:40:13Yeah.
00:40:13Have you noticed?
00:40:14Have you noticed that Alicia looks amazing in that nightgown?
00:40:17Master, where do you want us to slap you first?
00:40:19But first, tell us your plan.
00:40:21It's very simple.
00:40:22You take the compact, you open the compact, you empty the compact, you fill the compact, and you leave the compact.
00:40:28And what do you put in the compact?
00:40:29Separately, add pepper, pica-pica powder, and ground hydrochloric acid.
00:40:33What a beast you are.
00:40:34But hey, when that girl powders her nose...
00:40:36No, I don't think he'll burst, but yes, his face will be like a sack of cabbages.
00:40:39And let's see, so you love that I'm pretty, I'm beautiful, I'm a ray of sunshine thing?
00:40:43Well, let's get everything ready, we have to sleep.
00:40:46No, no, no, wait a minute, girls, I have a lot at stake in this matter and I deserve a prize, or do I not deserve a prize?
00:40:50Of course, yes, sir.
00:40:51We'll buy him a lollipop tomorrow.
00:40:54Come on.
00:40:54What is lollipop?
00:40:55Come on.
00:40:56Love, out.
00:40:56No, sir, goodbye, well, goodbye.
00:40:59A plan, that's what you want, a plan.
00:41:02No way, and how funny.
00:41:03Come on, out.
00:41:04Selfish, shameless, egotistical.
00:41:07Bye bye.
00:41:08After all, this man cares about us.
00:41:11It's you who worries him.
00:41:12And I'm worried about him.
00:41:14We'll accept your help for now, but eventually we'll have to take you out of circulation.
00:41:19Jesus, 116, must be the flu.
00:41:28Let's see, let's see, something important?
00:41:30No, but it is strange, it could be allergic.
00:41:32That he doesn't take care of himself, that he eats a lot.
00:41:34Of course, the pepper must have made him sick.
00:41:36Don't be quiet, miss, we're here.
00:41:39Jesus, 117.
00:41:42But well, but it can work.
00:41:44Impossible, but he does have the face that looks like a boi with daddy.
00:41:47You must go to Madrid urgently and visit a specialist.
00:41:50Well, we're ready, because they've already given the second one.
00:41:54Don't tell me the Duchess knows all the numbers of the second one so well.
00:41:57And the dances, and the lyrics of the songs, he knows it all.
00:42:00Isn't that right? Is she smarter?
00:42:02Well, go on, get that girl ready.
00:42:04Come on, it'll be right there.
00:42:05Please throw this away on your way out?
00:42:09Jesus, 118.
00:42:10Calm down.
00:42:15But why did you choose me, beautiful?
00:42:16If I agree to do the second, it's so you can be the third.
00:42:19And if you don't do this number, which was the one with the cast, I won't sing the one about the cow with daddy.
00:42:23I don't see, I don't see.
00:42:25I don't see anything, I don't see anything.
00:42:26Where am I?
00:42:27My shoe.
00:42:28I've lost a shoe, I've lost.
00:42:29Didn't you tell me not to get nervous?
00:42:31Nervous?
00:42:32Am I nervous?
00:42:32Now you'll see.
00:42:33Where are you going?
00:42:34Listen, young man, I'll have a strong linden tea.
00:42:36Come on, quickly, to the stage, I say to the stage.
00:42:38Man, but how?
00:42:39As?
00:42:39How does it not come out?
00:42:41Come on, come on.
00:42:42I'm coming.
00:42:43Come on, Molina, come on, come on.
00:42:45Come on, shut up.
00:42:47I bought a shawl with some money I had saved and I spent it on it.
00:43:09A carpeted shawl that I painted on a cigarette case and that's proven.
00:43:19And the carpeted shawl, God knows what things it has covered from me and still won't cover.
00:43:29That in my neighborhood and mine all the gossips start gossiping and singing like that.
00:43:36The Lola
00:43:39They say she doesn't sleep alone
00:43:44Because they've seen a young man who prowls around her at night and they don't see where he goes.
00:43:53Put, put, put, put, put
00:43:55The Lola
00:43:58He spends glue on his gowns
00:44:02And lamppost shirts
00:44:06Of the strip border
00:44:08Lola's shirt
00:44:11Who wouldn't know her?
00:44:13Well, go ahead and leave them alone.
00:44:22Because people are always quite talkative
00:44:31Do it yourself, well covered with a carpeted shawl.
00:44:36A carpeted shawl that I painted on a cigarette case and that's proven.
00:44:52And the carpeted shawl, God knows what things it has covered from me and still won't cover.
00:45:02In my neighborhood, all the gossips are murmuring and singing like this.
00:45:10That in my neighborhood all the gossips are murmuring and singing like that.
00:45:30The Lola
00:45:32He spends glue on his gowns
00:45:37And lamppost shirts
00:45:41Of the strip border
00:45:43Lola's shirt
00:45:45Who wouldn't know her?
00:45:59This march.
00:46:01If you continue like this, you'll soon be sitting further up front.
00:46:05In the engine?
00:46:05The woman, in the businessman's car.
00:46:08Are we going to Porcho Chividán?
00:46:11When?
00:46:12It has to be just before debuting in Madrid.
00:46:15If we were to rush, they would hire someone more well-known.
00:46:21And while we're at it, we're getting rid of the teacher.
00:46:24We don't need it anymore.
00:46:26If you are born in the United States you make Cassius Clay president.
00:46:30One is a crafty one.
00:46:31Catalina, why are you doing this for me?
00:46:35I'm not doing it for you.
00:46:36It's because of the theater.
00:46:38I was born in it.
00:46:39And these girls don't sing, dance, DJ, or cut.
00:46:43The magazine needs women like you.
00:46:45And I do my best to give them to you.
00:46:46A bit of a beast, but...
00:46:51What a day, huh?
00:46:57I think, Catalina, that for our first theater season we've already risen quite a bit.
00:47:01Me too, but you have to be a star next week.
00:47:04Why next week?
00:47:05Because we debuted in Madrid.
00:47:08That's why I told him...
00:47:09No, woman, that's a lie.
00:47:12To Mr. Antón Perdiguero, who in addition to being our businessman, is a wonderful person.
00:47:16Chuchi Vidal wasn't going to do something like that to him, with the dance teacher Castro.
00:47:21And what's that about?
00:47:22That's what I say.
00:47:23What is the point of this slander?
00:47:25But you know there are people for everything.
00:47:27And like Don Antón Perdiguero, who is a saint, even a week in Madrid...
00:47:30But what are you saying, Catalina?
00:47:32Duchess, if all you have in beauty is in cleverness, you would be a court attorney.
00:47:36Step, step, I'm in a hurry.
00:47:38Come on.
00:47:41How are you doing today?
00:47:45But...
00:47:45Oh well...
00:47:48No, no, no, Majo, no, no.
00:47:49For this issue we have to do everything new.
00:47:50The set, the costumes, and not to mention the choreography.
00:47:53To debut in Madrid, much more is required of us.
00:47:55Then we'll have to order a figurine from Cornejo.
00:47:58But do you think Perdiguero is in for more outlays?
00:48:01Because the tour has cost him a lot of money.
00:48:03Two coffees with milk, with toast.
00:48:05A little butter is very fattening.
00:48:07Master Castro is a gentleman.
00:48:09But I know it for a fact.
00:48:11You know what?
00:48:13Well, our life is in love like a goat.
00:48:15From the businessman.
00:48:16From Castro.
00:48:17The dance teacher.
00:48:18But if it is...
00:48:19Oh, sorry, sorry.
00:48:21It was a cramp.
00:48:22The leg, you know.
00:48:23The leg.
00:48:24Hey, what is it?
00:48:25Well yes, she's crazy.
00:48:28And he says that every night he waits for him at his hotel in case he feels like it.
00:48:31Of course, if Castro doesn't know anything...
00:48:33Yes, yes, yes.
00:48:34I already know what you're going to say.
00:48:36Thank goodness.
00:48:36Why doesn't Chuchi Vidal just tell Castro straight up and get it over with?
00:48:39No.
00:48:40Because Chuchi Vidal, even though it may not seem like it, which it doesn't seem like it at all, is naive.
00:48:45Hey, Catalina...
00:48:45No, don't say anything, I believe you, I believe you.
00:48:48What is...
00:48:49Oh, good evening, teacher.
00:48:51I didn't know you were there.
00:48:55Well, I was telling my friend here that in Bilbao everyone is Basque.
00:48:59However, Seville is so full of Andalusians.
00:49:02Boy, two more buns to dip.
00:49:04That number can cost around 60,000 pesetas.
00:49:07What will you say, Almerón?
00:49:09I don't know what to do.
00:49:10If I let my mustache grow a little longer.
00:49:14Something like... like Íñigo's.
00:49:16Catalina, this hair salon is the most expensive in the city.
00:49:23Shut up.
00:49:24For us it can be a gift.
00:49:26What do you want?
00:49:27Wash and iron.
00:49:28Shut up, I say, go wash and iron.
00:49:29Wash and mark.
00:49:30Come in, come in.
00:49:31Come on.
00:49:32Look who's there.
00:49:33Shut up, you fool.
00:49:34I'm going to buy you a bowl.
00:49:39They will be served immediately.
00:49:42Yes, official season, all year round in Madrid.
00:49:45And Monday afternoon is off.
00:49:47What is that?
00:49:48A job in a coffee shop?
00:49:50What patience, what patience.
00:50:00But he can't hear you.
00:50:01And the hairdryer is plugged in.
00:50:03Oh yes.
00:50:04It's true.
00:50:06Official season.
00:50:08All year round in Madrid.
00:50:10And on Sunday they take you to the amusement park.
00:50:13I think they pay salaries from the third development plan.
00:50:16And they give you the coffee with milk for your afternoon snack.
00:50:19Miss, is something wrong?
00:50:21No, nothing.
00:50:22Because?
00:50:23How did I hear him scream?
00:50:24Yes, my friend here is completely deaf.
00:50:28Like a wall.
00:50:28Isn't it true that from nothing and from the other only a murmur?
00:50:35Well, not anymore.
00:50:36No, no, be quiet, be quiet.
00:50:37Leave it, woman.
00:50:38Then, then I'll write to you.
00:50:40Friend, write, letter.
00:50:42It's such a cute shame, isn't it?
00:50:45He's like this from a fried bird indigestion.
00:50:48To what?
00:50:49Yes, woman, you've never heard of that...
00:50:50It is of the condition of the thrush.
00:50:53The small head and the deaf ear.
00:50:58Give me blue flower shampoo with Comanche Indian hormone.
00:51:03You know that the Comanches were a thing when it came to hair.
00:51:06See you later, dear.
00:51:07Bye bye.
00:51:08Miss, what's wrong?
00:51:19It's a fabulous contract.
00:51:21The entire season at the Calderón Theater in Madrid.
00:51:23It's great.
00:51:24And all in the hands of maestro Castro.
00:51:26Because the businessman is a friend of his.
00:51:28And what do we have to do to get Castro to hire us?
00:51:30I don't know, it's difficult.
00:51:31I think they already have the company formed.
00:51:34They only need the first star.
00:51:36But you know how men are.
00:51:37I don't understand you.
00:51:38Well, daughter, it's very clear.
00:51:40With a few caresses, a few hints,
00:51:44that if a little drink,
00:51:46that if I have so many in room number,
00:51:48that if you unzip me,
00:51:49Well, you understand me.
00:51:52What are you late for now?
00:51:53Let's go, Alicia, those guys are waiting for us.
00:51:55Who is it?
00:51:55The boys we met last Shrove Tuesday.
00:51:57Poor girl, besides being deaf, has memory lapses.
00:52:00Don't you remember Neve?
00:52:01Remember, Alicia, remember.
00:52:02That you don't remember anything, honey.
00:52:04Come on, let's go.
00:52:07I think we've gone too far, Catalina.
00:52:11Now Chuchi Vidal will put the points on Castro.
00:52:14The businessman will get really angry and tell us all to go for a walk.
00:52:17And without an entrepreneur, how are we going to debut the bat?
00:52:20You shut up, I've thought about everything.
00:52:23The cake is ready.
00:52:25Now all that's missing is the icing on the cake.
00:52:26And who will be the icing on the cake?
00:52:30Salmerón.
00:52:31The truth is, girl, you're a fool.
00:52:36And you are too good for a plumber?
00:52:38No, one takes care of the installation and sanitation.
00:52:43Oh, the young man!
00:52:44How good the young man is!
00:52:45Well, so what, so what?
00:52:47Who besides being the young man, is my boyfriend.
00:52:49Ah, well, you better put it on me.
00:52:52Her boyfriend!
00:52:53Her boyfriend said!
00:52:53Where do I hide?
00:52:54Nobody, behind the glass.
00:52:56And this is what I get for being handsome.
00:52:58I'll hide you quickly.
00:53:01It's going to be a mess, you'll see.
00:53:04And the company will fall apart, for sure.
00:53:07The key.
00:53:09Oh, I left the wrench there.
00:53:17Oh!
00:53:18The baby in love with the dance teacher.
00:53:20The businessman in Madrid.
00:53:23And the problem is that the one she is really in love with, Chuchi Vidal,
00:53:26It's from Salmerón, who is a bit handsome.
00:53:31What a mess!
00:53:35Plumber, you can come out now.
00:53:37The young man has gone on a trip.
00:53:39Yes, yes, yes.
00:53:43Well, beautiful, now the night is ours,
00:53:45although you must love,
00:53:47but safe.
00:53:50The first thing we will do is have a coffee,
00:53:52but it has to be from Brazil.
00:53:53Samba, samba!
00:53:58Why didn't you tell me before, my love?
00:54:00What's up with Salmerón, that I'm late?
00:54:01This has driven me crazy!
00:54:03I don't know what's happening to me lately that makes me stupid.
00:54:06Bye bye.
00:54:07What time does the bus leave?
00:54:08As always, at seven in the morning.
00:54:10It will be the first time that I don't mind getting up early.
00:54:13I really want to...
00:54:14Bye bye.
00:54:15Bye until tomorrow, girls.
00:54:16Yes, Miss Chuchi.
00:54:29I'll give you new feathers.
00:54:31But let them be of bird of paradise,
00:54:32not of dyed chicken.
00:54:34Don't worry.
00:54:39Can I do it, Chuchita?
00:54:40Come in, teacher, come in.
00:54:47How glad I am to see you?
00:54:49To help you pack the trunk, right?
00:54:51Don't be silly.
00:54:52To a man I admire so much,
00:54:54I would ask him for other things.
00:54:58Do you know, Roberto, that I am at my best professional moment?
00:55:01No, no, and the other one too.
00:55:04Thanks, darling.
00:55:07That's why I had thought that what I need
00:55:09It is a good theater company in Madrid
00:55:11with several fixed seasons.
00:55:13Well, you don't ask for anything.
00:55:15Well, I would like other things too.
00:55:18Well, that solid, uncultural body,
00:55:19superbe, you have to give him what he wants.
00:55:21Oh, teacher, teacher, don't hug me, I know myself.
00:55:25and why would I be able to accept a contract?
00:55:28for three years at five thousand a day
00:55:30with a minimum of six months of season in Madrid.
00:55:33Well sign, sign, sign, let's sign.
00:55:35Let's sign!
00:55:36We sign, we sign!
00:55:38Who is it?
00:55:39It's me, Salmeroncete.
00:55:41What a pain!
00:55:42Look, get in the closet.
00:55:44I'll dispatch it right away.
00:55:45Yes, I dispatch it, then,
00:55:47I always have to go.
00:55:48Are they there?
00:55:52Hey, hey!
00:55:53It's me, Salmeroncete.
00:55:55What do you want?
00:55:57Can't you guess?
00:55:58Love.
00:56:01That's two of them.
00:56:02All we have left is pirulero.
00:56:03Have you notified the teacher?
00:56:04Yes, he says he does it for my mother.
00:56:06No bullshit.
00:56:07I'm going to find the tailor, let's go.
00:56:09Chuchi, love.
00:56:10Why didn't you tell me before, love?
00:56:12But, Salmerón, what's wrong with you?
00:56:14That I love you too.
00:56:15I say, I love you too.
00:56:16But if you had been honest
00:56:18what a turn we would have had.
00:56:20Come to my strong heathers.
00:56:22My darling.
00:56:23You have a scene, that's what sheet.
00:56:25No, woman, I won't spoil it for you.
00:56:27It's a favor on behalf of my mother.
00:56:28What if I get caught?
00:56:29Goes.
00:56:31Man!
00:56:32Mr. Retriever.
00:56:33Like you here.
00:56:35We thought he was in Madrid.
00:56:36Yeah.
00:56:36As if I were stupid.
00:56:38That?
00:56:39Has everyone left already?
00:56:40Yes sir.
00:56:44Only we are left.
00:56:45And Miss Vidal, who has been here for a long time
00:56:47locked in her room with the dance teacher.
00:56:49That?
00:56:50They will be putting on a new dance.
00:56:51Yes, the dance of the damned.
00:56:56Chuchi, open up.
00:56:57Yes, I don't know.
00:56:58Who is it?
00:56:59What do you mean, who am I?
00:57:00Don't you know my voice anymore?
00:57:02Open, open!
00:57:03But who does this guy think he is?
00:57:05Now you'll see.
00:57:06No, no, I don't see anything.
00:57:08I'm risking my salary.
00:57:09Understand.
00:57:09Where do I hide?
00:57:10Here, not here.
00:57:12Ah, in the armory!
00:57:13No, not there.
00:57:19But what are you doing here?
00:57:21Shut up, your retriever friend is a beast.
00:57:23One is no longer of an age to demand fidelity until the grave,
00:57:26but a little shame wouldn't hurt us all.
00:57:29What's that about?
00:57:30It comes to me that I know everything.
00:57:32Well, enter a contest.
00:57:33And since we're talking about knowing,
00:57:34I want you to know that I'm fed up with you.
00:57:36and that I am leaving this company.
00:57:37Castro hires me for one he is forming
00:57:39for the Calderón in Madrid.
00:57:40Man, very nice.
00:57:42And you without telling me anything.
00:57:43And do you already have a first comic actor for him?
00:57:45I don't know what you're talking about.
00:57:47What this girl must be drinking and it makes her feel terrible.
00:57:49I don't give a damn about a comedian,
00:57:51but here is a man
00:57:52and I have to settle accounts with him.
00:57:54Where is?
00:57:55Aternal!
00:57:55I warn you that this builder
00:57:57and he's going to shower us with a brick.
00:57:58Calm down, right now
00:57:59you have to be very cold-blooded.
00:58:02Tranquillity.
00:58:03Ah, here in the closet!
00:58:04In the extraclassic.
00:58:06And I had thought for the end
00:58:08put the stairs higher
00:58:10so that when the BD comes down...
00:58:11No, no, no.
00:58:11If I understood you, monkey.
00:58:12That it came out as if from a chest.
00:58:14Just like a jewel.
00:58:16Come on, look who's here.
00:58:18But good old Antón!
00:58:19We were thinking about renovating,
00:58:21but come on, come on, come on.
00:58:22Shame on you!
00:58:22There are two, not one!
00:58:24I'll mess it up myself!
00:58:25Clear!
00:58:26Calling himself a retriever!
00:58:27He hasn't fooled us, my poor fellow!
00:58:29Oh, I'm going!
00:58:30Who are you asking for?
00:58:34Don Anton the retriever!
00:58:36Oh, yes!
00:58:37It's around there, but I don't know where.
00:58:40Well, well!
00:58:41Look for yourself!
00:58:43You are welcome!
00:58:44Who is it?
00:58:48Good evening, Miss Vidal.
00:58:49Yeah, yeah, yeah, I was leaving.
00:58:51I thought there was no one left.
00:58:52Who were you talking to?
00:58:53With a lady who came with two children by the hand,
00:58:56blonder, with big bellies, handsome.
00:58:58They were looking for our businessman.
00:59:00And who said it was?
00:59:01The wife and children of Don Antón Perdiguero.
00:59:03That?
00:59:04And he's looking for him in every dressing room, just look.
00:59:08Take!
00:59:08Oh no!
00:59:10That's not it!
00:59:11Not again!
00:59:13Who was he?
00:59:14He already beat my wife.
00:59:15and in the end we all ended up at the police station.
00:59:18I'm leaving, don't count on me.
00:59:20Find yourself another starlet for your filthy company.
00:59:23But who called before?
00:59:24Your wife.
00:59:25And he came with your two children.
00:59:26The hecatomb.
00:59:27I mean, the hecatomb.
00:59:28Hide, Mr. Pirulero.
00:59:30Hide, Mr. Pirulero.
00:59:31Retriever!
00:59:32But why do they box me up?
00:59:35Send my luggage home, without fail.
00:59:37As you wish, love.
00:59:39Go gargle!
00:59:40Well, there's no need to send anyone here to gargle.
00:59:41And you, count on me for the Calderón and for whatever you want.
00:59:46Okay, okay, pay attention!
00:59:47I have chlorophobia!
00:59:51Ah!
00:59:55I'm not talking!
00:59:58Thank goodness he didn't see you as a lollipop fan, huh?
01:00:00Because...
01:00:00But what Calderón is he talking about?
01:00:02There is no water, no water or anything!
01:00:04They're going to have me here again!
01:00:05You are a poor thing, woman!
01:00:05And his two little angels!
01:00:09Hey, hey!
01:00:10Please listen to me!
01:00:11Listen to me!
01:00:12Listen to me!
01:00:13It's just that I'm single!
01:00:16I care about everyone's private life!
01:00:18Single?
01:00:19Completely!
01:00:20One moment!
01:00:20And without children?
01:00:21Not as far as I know!
01:00:23So who called?
01:00:24Well, it's the same.
01:00:25Deep down I'm glad.
01:00:26So we ended in peace.
01:00:28No!
01:00:28No, no, impossible, impossible!
01:00:30He has the contracts signed, it would cost him a fortune to receive it.
01:00:33From jail!
01:00:33From jail!
01:00:34And looking ahead to the Madrid debut, with that funny play you've written, with so many jokes.
01:00:39Like the one who says how much you go out, the...
01:00:42Well...
01:00:43So many, so many jokes!
01:00:47You don't know, the other day a critic had a heart attack.
01:00:50Well, well, that's the author, huh?
01:00:52Someone else says it and they laugh just the same.
01:00:54Maybe more.
01:00:56Further!
01:00:57You've gone too far there.
01:00:58Wow, wow, wow!
01:01:00I recognize that as an author I have many graces.
01:01:03Thanks a lot.
01:01:04Many!
01:01:05But many!
01:01:06One moment!
01:01:07One moment!
01:01:08Yeah?
01:01:09But what if the whole magazine learns, with three days left until its debut in Madrid?
01:01:14Hey!
01:01:14I got them!
01:01:15What do you say?
01:01:16Dance!
01:01:20That's music!
01:01:22Yes, but shut up, shut up.
01:01:23I'm beginning to understand something.
01:01:25Yes, me too.
01:01:26But I...
01:01:27This is Catalina's thing.
01:01:28There, yes, yes, yes!
01:01:29Look, I think Madrid's debut is going to be fixed.
01:01:33Sure, me, me!
01:01:34But don't get up, be quiet, be quiet.
01:01:36Come on, get up.
01:01:37But listen to you!
01:01:38Shut up, shut up!
01:01:39Shut up, shut up!
01:01:40Shut up, shut up!
01:01:40Shut up, shut up!
01:01:41It's all about my money!
01:01:42Shut up, shut up!
01:01:43Shut up, shut up!
01:01:55Shut up, shut up!
01:01:56Shut up, shut up, what do you think?
01:02:10Shut up, shut up, shut up.
01:02:17Who is it?
01:02:18Shut up, look, look.
01:02:19Cecilia Alcaraz's daughter.
01:02:21It would be a great advertising impact.
01:02:23Do you believe me?
01:02:23Come on, my retriever friend, congratulations.
01:02:25You have stood up.
01:02:27We've got it, baby.
01:02:29And will the work be known?
01:02:30Of course, and even the phone book.
01:02:32Not bad at all.
01:02:33And if you don't know the play, your friend Catalina will be there,
01:02:37that would program it as if it were a computer.
01:02:41Are you going to get rich, get rich?
01:02:42Gooey, gooey!
01:02:45Very good, very good, very good.
01:02:49There, there, there!
01:02:51What's happening?
01:02:52Fewer walls.
01:03:07Jobá!
01:03:07Well yes, in ten monkeys in Madrid.
01:03:31Do you want a nut?
01:03:32No, thanks.
01:03:33No, thanks.
01:03:34And when...?
01:03:35Catalina, you're going to break a tooth.
01:03:36What nonsense!
01:03:38Oh!
01:03:39You see?
01:03:40Oh, oh, oh!
01:03:41Oh!
01:03:42That?
01:03:44Oh!
01:03:45Come on, look how that idiot has managed to drink.
01:03:47And that you were the one who helped him?
01:03:50Why didn't you sweep for home?
01:03:52You sing better, you're nicer, smarter, and prettier, aren't you?
01:03:56Well, I am cute now.
01:03:57By the way, did you know this dentist?
01:04:02No no.
01:04:05Is it one of those that doesn't hurt?
01:04:06What are you saying?
01:04:06That they do not harm anyone.
01:04:08Who recommended it to you?
01:04:09No, but I think it's great.
01:04:12Is he the one who assists the fishmonger's son?
01:04:14Ah.
01:04:17To Fermin.
01:04:18But mother, mother, if he's been coming to the dentist for six months and...
01:04:21And now he only eats semolina, I'm going to you.
01:04:24Daughter!
01:04:25What's that?
01:04:27It sounds like a dog growling.
01:04:29Dog?
01:04:30Dog?
01:04:31I think the dog in there will end up eating semolina with Fermín, I'm leaving.
01:04:34Shh!
01:04:34Mother, what things are like, you won't believe it.
01:04:37Nothing hurts, nothing, nothing.
01:04:40Shh!
01:04:41Calm down, calm down.
01:04:43And by the way, what did you use to wash this dress that made it shrink so much?
01:04:49What has shrunk is my navel.
01:04:51Let's go, mother.
01:04:52Since we're here, besides, look, look, we can't hear anything anymore.
01:04:58It's true.
01:04:59He will have lost consciousness.
01:05:01Or will they have finished with him?
01:05:02Mother!
01:05:03In a good way, daughter.
01:05:05Now it's up to you.
01:05:06Now it's a horn.
01:05:07Ah, well let's go right now.
01:05:08And the man who was in there?
01:05:10Did he come out the other door?
01:05:11Or have they thrown it in the trash?
01:05:13The poor man would be worth something bad.
01:05:14Mother, I don't want to go!
01:05:16Let's go to El Corte Inglés!
01:05:18Please sit down.
01:05:19But without tying me up, okay?
01:05:22Naturally.
01:05:25The truth is that nothing hurts anymore, nothing.
01:05:26Leave.
01:05:27Catalina, you are not a child woman!
01:05:29For this reason, since I am older now, I want to leave.
01:05:31Yes, here is the doctor.
01:05:33Well, let's see this young lady.
01:05:40Is she asleep?
01:05:41No, I'm dead.
01:05:43Scary.
01:05:53And the dentist?
01:05:56It's me?
01:05:57Is he gorgeous?
01:05:58Yes, at least that's what my mother says.
01:06:03And now, if you don't mind, let's see that mouth.
01:06:07He's very scared, doctor.
01:06:09He wanted to leave.
01:06:10If I had left, I'd have missed out on what I'd do, mother.
01:06:13Open your mouth.
01:06:16And I won't touch it until you tell me.
01:06:18Tap, tap.
01:06:20Touch whenever you want.
01:06:21You doing your thing?
01:06:23Let's play.
01:06:26Releaseable.
01:06:28Rodolfo Valentino.
01:06:29Tyron Power.
01:06:31Robert Tyler.
01:06:32The Persuaders and Dr. Ganon.
01:06:34All one-handed.
01:06:37One-handed.
01:06:37Decrepit old women next to my grandmothers' boots.
01:06:40It's beautiful.
01:06:42It's divine.
01:06:43If you see him, Alicia, how is he?
01:06:45How are you doing?
01:06:46We'll be boyfriend and girlfriend, we'll go to Mallorca, we'll get married.
01:06:48We will have ten children
01:06:49and they will all have false teeth.
01:06:51What's the matter?
01:06:53And you grind?
01:06:55He asked me for a souvenir
01:06:56and I gave it to her.
01:06:58I've missed you so much.
01:07:01Journalists have come
01:07:02and they did a report on me.
01:07:04But I can't.
01:07:05I can't debut.
01:07:06I'm scared to death.
01:07:10Oh my God.
01:07:12I was so happy.
01:07:13It's nerves.
01:07:15The normal thing.
01:07:17But everything will be fine.
01:07:18The worst is the first issue.
01:07:20The first one!
01:07:21Get ready.
01:07:22I'm leaving.
01:07:22Get ready or we'll be late.
01:07:24Don't worry about anything.
01:07:25You will have a success.
01:07:27We will toast with champagne.
01:07:28You'll see.
01:07:29And tomorrow you will meet my dentist.
01:07:31Bye bye.
01:07:31Very good, very good.
01:07:38Very good, very good.
01:07:39They laugh.
01:07:39And not once is it said soon,
01:07:41I have not been wrong once.
01:07:43How, how?
01:07:43Now comes the presentation of the stockings.
01:07:45They are already in place.
01:07:46Yes, but Alice,
01:07:47there goes how bad it sounds.
01:07:48I don't see.
01:07:49Now my Catalina comes out.
01:07:51They're going to eat it.
01:07:52When is it going to be assembled?
01:07:52It will be when my Alice comes out.
01:07:54You'll see how much they applaud you.
01:07:55My daughter worries me.
01:07:56I was like scared.
01:07:57No nonsense.
01:07:58I'm sure he's laughing now.
01:08:04I don't go out.
01:08:05I won't be able to move.
01:08:06Come on, Alice,
01:08:06now you can't go back.
01:08:07I'll faint.
01:08:08I'll fall down the stairs.
01:08:09I can't hear the music.
01:08:10Let me go.
01:08:10I have to go out.
01:08:11If you leave me alone,
01:08:12won't come out, Sena.
01:08:13I'm getting dizzy.
01:08:15You don't hear the music.
01:08:16I have to leave now.
01:08:17Please, Catalina.
01:08:19I am in anguish.
01:08:22Shut up.
01:08:27I'm going home with my mother.
01:08:39But girl, what are you doing?
01:08:41What's happening?
01:08:42Master, again, again.
01:08:44Da capo, da capo.
01:08:45The doors, the doors.
01:08:48What's happening?
01:08:50Don't let the magazines be there.
01:08:51This is worse than waiting
01:08:53a loan from the Ministry of Housing.
01:08:55Much worse.
01:08:55My daughter!
01:08:56Is something wrong with my daughter?
01:08:57It's useless.
01:08:58We can't help them.
01:08:59They are isolated in the center of the stage.
01:09:02Come, come, come and get us ready to go.
01:09:05Alicia, are you going out or I swear I'll break your teeth?
01:09:08It's impossible.
01:09:09Not alone.
01:09:10Who do you want to go out with?
01:09:10With your mom?
01:09:11No, no, no.
01:09:17Together.
01:09:18Let's go out together.
01:09:18With you I'm not afraid.
01:09:20It's impossible.
01:09:20The same time is always just one.
01:09:22Well today it will be two or none.
01:09:24But not alone.
01:09:24The suits are different.
01:09:26And if that's why I'll give you a bunch of these damn feathers.
01:09:29Go out, dance and have fun.
01:09:32They, radiant stars,
01:09:35gratiles and beautiful,
01:09:36will be presented.
01:09:39To return, to sing,
01:09:40happy angels.
01:09:42Up the stairs,
01:09:44the star will respond.
01:09:46Two magazine girls who are not doing badly.
01:09:59Two magazine girls.
01:10:02that we dance and dance and dance and dance.
01:10:12We thought we were missing one more time.
01:10:14And we have two.
01:10:15two magazine girls who are not doing badly.
01:10:30The zipper.
01:10:31Let's see,
01:10:32go up.
01:10:32Yes, yes.
01:10:33Alright.
01:10:37How are you?
01:10:38Two magazine girls.
01:10:41Do we have those two girls hired?
01:10:43No,
01:10:43It was all so fast that no.
01:10:45I'm going to prepare to do.
01:10:47Hire them exclusively,
01:10:49but both together,
01:10:50which is how they have value.
01:10:51One in comic
01:10:52and the other seriously.
01:11:19What do we sing and laugh about?
01:11:21That we dream of triumph
01:11:23to give you
01:11:25happiness.
01:11:51What a barbarity!
01:11:53What a restaurant!
01:11:55How much pomp!
01:11:58What places my tooth pullers frequent!
01:12:03I've told him about you,
01:12:04but he doesn't want to go see us at the theater.
01:12:07I think he prefers ballet,
01:12:09the opera
01:12:09and such nonsense.
01:12:10When he invited me to lunch,
01:12:15I didn't tell him I was coming with you.
01:12:17You have to be friends.
01:12:21Says his nurse
01:12:22who knows several languages.
01:12:24Talk to him in foreign language.
01:12:26Well,
01:12:26calm down.
01:12:28It's that when I see him
01:12:29I get so nervous,
01:12:32I kibiki like Salmerín.
01:12:34Salmerón,
01:12:35Well,
01:12:35you already know.
01:12:35look,
01:12:38there it is.
01:12:42He doesn't see us.
01:12:44Hey!
01:12:45Pss!
01:12:46Shut up, woman!
01:12:52Don't stand up.
01:12:53Woman goes to greet,
01:12:54it is the right thing to do.
01:12:55Sit.
01:12:58Clear.
01:12:58You forgive me,
01:13:01but it has entertained me
01:13:02a bridge.
01:13:03No,
01:13:03It's not that I'm an engineer,
01:13:04No.
01:13:05It refers to a bridge,
01:13:06Hey?
01:13:09Well,
01:13:10This is my surprise,
01:13:11doctor.
01:13:12Meet Alicia,
01:13:14my best friend.
01:13:16And I'm not saying my sister
01:13:17because my father
01:13:17never had anything to do with it
01:13:18with the metacarpal.
01:13:19Oh,
01:13:20Well,
01:13:20with his mother.
01:13:22In the end,
01:13:22that we are thick as thieves.
01:13:26It's a pleasure,
01:13:27Miss.
01:13:28Nice to meet you.
01:13:31Uh!
01:13:35Good morning,
01:13:36doctor.
01:13:37Good morning.
01:13:41Wow!
01:13:43How many things
01:13:44do you have here?
01:13:45What will they take?
01:13:47Something light.
01:13:49You have to stay in line.
01:13:51Hmm.
01:13:53I would like to
01:13:54this dish.
01:13:55I recommended
01:13:56by the chef.
01:13:57Is it meat?
01:13:58No,
01:13:59exactly no.
01:14:01I'll order for both.
01:14:04Thank you,
01:14:04flat.
01:14:06It's that Alice
01:14:06speaks languages.
01:14:08And not only that
01:14:08speaks to them,
01:14:09He also writes them.
01:14:10She's crazy,
01:14:10but a crazy one.
01:14:11salad
01:14:12and grilled meat.
01:14:15Then orange juice
01:14:16sugar-free.
01:14:18That too
01:14:19I could have asked for it,
01:14:20maja.
01:14:21The same.
01:14:22We will save
01:14:23all the line.
01:14:26Thank you so much.
01:14:28Far better
01:14:29for the record.
01:14:31It fell short.
01:14:33Who?
01:14:34Catalina
01:14:34talking to me about you.
01:14:36Do you see it?
01:14:36She is very nice,
01:14:37very nice,
01:14:38Okay.
01:14:39She too
01:14:40He told me about you.
01:14:41Evil,
01:14:42sure.
01:14:43Ah,
01:14:43What a fool,
01:14:44Bah.
01:14:45No?
01:14:46No,
01:14:46I would say
01:14:48that too well,
01:14:49taking into account
01:14:49who are you
01:14:50your dentist.
01:14:52Do you have
01:14:52sense of humor.
01:14:53Do you like to read?
01:14:59All.
01:15:00Precisely,
01:15:00has a lot.
01:15:01But I'm very weird.
01:15:02From the German classics
01:15:04even photo novels.
01:15:05Where did you study?
01:15:06In Los Angeles.
01:15:07Los Angeles, California.
01:15:10No,
01:15:11Swiss.
01:15:11I was in Geneva.
01:15:13Oh,
01:15:13there in Geneva
01:15:14everyone...
01:15:15Then my mother
01:15:16He sent me to Edinburgh.
01:15:17Scottish English is good.
01:15:19Bah,
01:15:19from Scotland
01:15:20the best is the cod.
01:15:21To the hair...
01:15:22Better than mine?
01:15:23I graduated in Edinburgh.
01:15:25Yeah,
01:15:26the American accent
01:15:27It's very good,
01:15:28but it's fun.
01:15:29I like listening to it.
01:15:31We can see
01:15:31Chelerofen
01:15:32and...
01:15:33Are you correct?
01:15:34So in London
01:15:35they will not speak to each other
01:15:36on the boat.
01:15:42It's funny what you say.
01:15:44That's what you say.
01:15:44So we can't start.
01:15:46Please,
01:15:47my mother
01:15:48has a garden.
01:15:49My mother
01:15:50has a garden.
01:15:51My mother
01:15:53has a garden.
01:15:54My mother
01:15:55has a garden.
01:15:56A garden.
01:15:59Yeah,
01:16:00Yeah.
01:16:01But here
01:16:02has an abel.
01:16:04and...
01:16:05On the boat
01:16:06it is done to him
01:16:07on the boat.
01:16:09On the boat
01:16:10it is done to him
01:16:11on the boat.
01:16:15Has an alcohol
01:16:16and it is done
01:16:16and he is asked
01:16:17and it is put on
01:16:17in time
01:16:18to give happiness.
01:16:23What? Lots of people?
01:16:33As always, Gemma.
01:16:34I think you should already ask for a raise.
01:16:37Leave that to me. I have experience.
01:16:39Remind me of the old Fontalba, now Banco Coca, when we launched the great magazine...
01:16:43Mom, please.
01:16:45Do you want to leave us alone?
01:16:47What's up? Is something wrong?
01:16:49I have to talk to Catalina.
01:16:50And we can't hear it?
01:16:53Let's go, Cecilia. The girls will have their reasons.
01:16:59Catalina, I need to talk to you.
01:17:03Now?
01:17:05Leave it, woman. Another day.
01:17:07It has to be now.
01:17:09How long has it been since you saw Mario?
01:17:12Camomile lifter?
01:17:13I don't know.
01:17:15Since we all ate?
01:17:18I think so.
01:17:19How come my tooth doesn't bother me anymore?
01:17:25That night he called me at home.
01:17:27Since then we go out together every day.
01:17:30Well, that's great.
01:17:37How is the public today?
01:17:39He laughs at everything, right?
01:17:43Catalina, I love you.
01:17:45And he loves me.
01:17:49He is so smart, so correct.
01:17:53We understand each other almost without speaking.
01:17:55I'm in love.
01:17:57And he's not with me, I'm sure.
01:18:00He asked me to marry him.
01:18:02But I haven't answered him yet.
01:18:05Because I wanted to talk to you first.
01:18:06Because?
01:18:09Hey, Catalina.
01:18:12Do you love him?
01:18:15I?
01:18:18I?
01:18:20No.
01:18:20Goes.
01:18:23Falling in love with a dentist myself.
01:18:24Goes.
01:18:27Not to mention how scared they are of me.
01:18:30Sure?
01:18:31I was worried, you know?
01:18:35Like before introducing me.
01:18:38Were you talking about him with such enthusiasm?
01:18:41Yeah.
01:18:42He's very nice, but he's not my type.
01:18:45Glad to hear it.
01:18:47I am very happy.
01:18:48I don't know why I thought you were...
01:18:51I don't say in love, but I do say interested.
01:18:53No, no way.
01:18:58Don't you congratulate me?
01:18:59Don't you congratulate me?
01:19:01I'm going to be late.
01:19:05I'm sure you'll be very happy.
01:19:07But now the worst is yet to come.
01:19:09Mario wants me to quit the theater.
01:19:11And before we got married,
01:19:12He wants me to go with him to meet his mother,
01:19:14who lives on the Costa Brava.
01:19:15Look, tourist area.
01:19:17But he wants us to leave the day after tomorrow.
01:19:20And?
01:19:22We have signed a contract with Pirulero.
01:19:26I'll fix that.
01:19:28You go in peace.
01:19:31And may you be as happy as I would have liked to be.
01:19:34Thank you.
01:19:35I knew that, as always, I could count on you.
01:19:38I owe you so much that I don't know how I'll ever be able to repay you.
01:19:40Well, I'll write you a ninety-day bill.
01:19:43I'm leaving, I'm late.
01:19:43I feel your love reborn in me
01:19:57knowing that you will return
01:20:00When you finally come back to me
01:20:04I will look for your gaze
01:20:07The immense consolation
01:20:11To feel myself next to you
01:20:14And when I arrive I will tell you
01:20:18Look at me
01:20:19And when you look at me you will say
01:20:22Love me
01:20:23And your eyes will say
01:20:25Kiss me
01:20:26That your kisses will make me
01:20:29Crazy to say
01:20:31If your love is true
01:20:32Look at me
01:20:34To make me dream
01:20:36Look at me
01:20:37To make me happy
01:20:40Look at me
01:20:40Look at me
01:20:41If you want to kill me
01:20:43Look at me
01:20:44I feel your love reborn in me
01:20:54Knowing that you will return
01:20:57And he comes back
01:20:59When you finally come back to me
01:21:02I will look for your gaze
01:21:05The immense consolation
01:21:08To feel myself next to you
01:21:12And when I arrive I will tell you
01:21:16Look at me
01:21:17And when you look at me you will say
01:21:20Love me
01:21:21And your eyes will say
01:21:23Kiss me
01:21:24That your kisses will make me
01:21:27Crazy to say
01:21:29If your love is true
01:21:30Look at me
01:21:32To make me dream
01:21:34Look at me
01:21:35To make me happy
01:21:38Look at me
01:21:39If you want to kill me
01:21:41Look at me
01:21:43If your love is true
01:21:50Look at me
01:21:51To make me dream
01:21:54Look at me
01:21:55To make me happy
01:21:57Look at me
01:21:58If you want to kill me
01:22:01Ah, ah, ah, ah
01:22:06If your love is true
01:22:08Look at me
01:22:09To make me like this
01:22:12Look at me
01:22:13To make me happy
01:22:15Look at me
01:22:16If you love me
01:22:19Ah, ah, ah
01:22:22Look at me
01:22:23Look at me
01:22:24Look at me
01:22:25Look at me
01:22:26Look at me
01:22:27Look at me
01:22:28Look at me
01:22:28Look at me
01:22:29Look at me
01:22:30Look at me
01:22:31Look at me
01:22:32Look at me
01:22:33Look at me
01:22:34Look at me
01:22:35Look at me
01:22:36Look at me
01:22:37Look at me
01:22:38Look at me
01:22:39Look at me
01:22:40Look at me
01:22:41Look at me
01:22:42Look at me
01:22:43Look at me
01:22:44Look at me
01:22:45Look at me
01:22:46Look at me
01:22:47Look at me
01:22:48Look at me
01:22:49Look at me
01:22:50Look at me
01:22:51Look at me
01:22:52Look at me
01:22:53Look at me
01:22:54Can I sit next to you?
01:23:08Yeah.
01:23:10Yes of course.
01:23:14How are you here?
01:23:15Your mother told me that you had gone out for a walk and that you were sad.
01:23:21I'm sorry, but I have good news for you.
01:23:25My father has been convinced.
01:23:28Well, you've only half understood the third development plan.
01:23:32You are going to open a branch in a new neighborhood.
01:23:36She puts it in my name.
01:23:38And let me be a supermarket.
01:23:44I know you're very tall now.
01:23:46But in the same house they sell a ninth.
01:23:51And if you wanted.
01:23:54Thanks, Evaristo, but...
01:23:55No no.
01:23:57If you answer now you're going to say no.
01:24:01In a month.
01:24:02Or two.
01:24:05Or a year.
01:24:07Maybe things will be different then.
01:24:10Probably.
01:24:14That's enough for me.
01:24:15And now, what are you going to do?
01:24:23I will continue alone.
01:24:24Not alone, Catalina.
01:24:25I dare not, understand.
01:24:27Together, you are a phenomenal couple.
01:24:29But separate that one.
01:24:31I prefer to hire a well-known DB.
01:24:34Less risk.
01:24:34I know and I understand you.
01:24:38I will be working until I find your BD.
01:24:40Alicia has done very badly.
01:24:41This morning he told me that he would not be working today.
01:24:43But he has a contract.
01:24:44No one can be forced to change their future.
01:24:47She's getting married.
01:24:48Oh, I wouldn't give in to force.
01:24:50Not even half.
01:24:52I'm sorry, really.
01:24:54I'm ashamed.
01:24:57And look for a new girl?
01:24:59No, leave him.
01:25:01I don't have the courage to continue either.
01:25:04I will work alone until my replacement comes.
01:25:06But Alicia doesn't realize the damage she's doing to you.
01:25:08She's in love.
01:25:10And there are women who are blinded by love.
01:25:12I know some who did the same in their youth.
01:25:16Well, go away.
01:25:18I have to get dressed.
01:25:21And they won't say anything to Alicia.
01:25:24I have your word of men.
01:25:26Catalina understands my position.
01:25:28I know.
01:25:29That's how theater is.
01:25:31And whoever wants it has to take it as it is.
01:25:33Thank you, daughter.
01:25:35Come on.
01:25:36I'm going to take this to the tailor.
01:25:38No.
01:25:40I left the one for Alicia's presentation.
01:25:42I can't get the trick if there is no contrast.
01:25:44Besides, I have no sense of humor to make people laugh.
01:25:47I'll wear hers.
01:25:49Would you mind returning this one?
01:25:51Here it is already a hindrance.
01:25:53Yeah.
01:25:54Nice to meet you.
01:25:55May I begin, miss?
01:26:04Yes, yes.
01:26:05I'll be right there.
01:26:06Thank you.
01:26:08Mother.
01:26:10What are you doing here?
01:26:11I couldn't leave without saying goodbye to Catalina.
01:26:14Where is?
01:26:15But you may not have realized it.
01:26:18About what?
01:26:19Look, daughter, I've done a lot of stupid things in my life.
01:26:22But I think it was the fault of those who were next to me, who didn't hit me in time.
01:26:27But, madam, what does this mean?
01:26:30Young man, I'm going to talk to my daughter in there for a while.
01:26:33In three minutes, I'm going to tell you all the truths I haven't told you since you were born.
01:26:38After that, let him do what he wants.
01:26:42No one other than the company is allowed to enter here.
01:26:44Wait for my daughter in the stalls lobby.
01:26:46Come on, girl.
01:26:48Flowers, colored lights, feathers and splendors, we will show.
01:26:54If they want to tell, just for a moment, crying for love.
01:27:01Joyful when singing, happy when watering, fighting when dancing and having fun.
01:27:09Beautiful, brave, stars, fragile and beautiful, will be presented.
01:27:14Joyful in singing, happy for those who are going to light the star on the ladder.
01:27:23I'm a magazine girl, which isn't bad at all.
01:27:36I am a magazine girl, with a colorful figure.
01:27:41Colorful.
01:27:42How are you?
01:27:43Two magazine girls, who danced like no other.
01:27:50We sing and laugh, we dream of success to bring happiness.
01:27:56But, but girl, what are you doing here?
01:28:00My mother has opened my eyes and left marks on my fingers.
01:28:03And Mario, I've thought better of it.
01:28:07I'm also afraid of the acabuelas.
01:28:08From a magazine, with a colorful figure.
01:28:13How are you?
01:28:14Two magazine girls, who danced like no other.
01:28:21We sing and laugh, we dream of success to bring happiness.
01:28:27You are a woman with all the bar.
01:28:36I will never call her Mrs. Metacarpiana again.
01:28:38I'll call her Mrs. Peronet.
01:28:40Are you going to put on your boots?
01:28:42Yes, it could be because I haven't seen a penny yet.
01:28:44No, I say this because winter is coming.
01:28:45Ah.
01:28:46Two magazine girls, who danced like no other.
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