- hace 3 meses
Reparto: José Luis Ozores, Lolita Sevilla, Antonio Ozores, Ena Sedeño, Roberto Rey, José María Lado, Ángel Ter, María Cañete, Emilio Santiago, Eduardo Ester, Aníbal Vela, Mari Sol Luna, José Manuel Ramírez
Dirección: Pedro Lazaga
Un joven sueña con conocer a su cantante y actriz de cine favorita. Para ello se presenta a un casting de nuevas caras, pero se pone nervioso ante la presencia de la estrella y el resultado es desastroso. Al intentar disculparse, es confundido con el novio de ella.
Dirección: Pedro Lazaga
Un joven sueña con conocer a su cantante y actriz de cine favorita. Para ello se presenta a un casting de nuevas caras, pero se pone nervioso ante la presencia de la estrella y el resultado es desastroso. Al intentar disculparse, es confundido con el novio de ella.
Categoría
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CortometrajesTranscripción
00:00:00Thank you!
00:00:30Thank you!
00:01:00Thank you!
00:01:30Thank you!
00:01:52Hello Antonio, good afternoon
00:01:54Is there a letter for me?
00:01:55No, there's nothing in this cast either.
00:01:57So, what's he going to do?
00:01:58See you tomorrow, Emilio.
00:01:59Goodbye, see you tomorrow
00:02:00What's wrong, Antonio?
00:02:03The poor man is waiting for a letter that never arrives.
00:02:06They believe that in Madrid they will listen to him
00:02:07Madrid is so big
00:02:09He who knows, if he has never left the solera
00:02:11Won't that be too cheerful?
00:02:13It's not like you were widowed just yesterday.
00:02:15It's been almost two years now, Almira.
00:02:18Yes it's true
00:02:19But I think so much about my poor husband
00:02:22Well, recently
00:02:24You were there, whether I fall or not.
00:02:27With Don Demetrio, the telegraph operator
00:02:29I?
00:02:31He, who was so enamored with the tobacco shop, was trying to seduce me.
00:02:34But I planted it more than just a step.
00:02:36Don Demetrio says it was the other way around
00:02:38On the contrary, they should return him.
00:02:40So that it would release all the poison it carries inside.
00:02:42Your assistant
00:02:44It's something else, isn't it?
00:02:46Because you said so?
00:02:48Do you think I'm blind?
00:02:50Ever since you started teaching that boy to sing
00:02:53You groom yourself much more than before
00:02:55Come on
00:02:56Don't talk nonsense
00:02:58Don't think I was the only one who noticed it.
00:03:01All the river's tradition
00:03:03She says the year won't end without us having a wedding.
00:03:06Do you think Antonio?
00:03:08Oh, those things are obvious.
00:03:11Yes, I do find it a bit strange these days.
00:03:13As if she wanted to tell him something but didn't dare.
00:03:15Because the boy is short
00:03:17And being in love makes it even more so.
00:03:19You were supposed to push him
00:03:21I?
00:03:22But if I...
00:03:23Come on, come on
00:03:24Don't pretend
00:03:25You like the boy too.
00:03:29Well
00:03:29He is handsome indeed.
00:03:31And a gentleman, of course.
00:03:33Listen, Palmyra
00:03:35Men need everything done for them.
00:03:38Show them that you understand their ways of doing things.
00:03:41And his half-truths
00:03:42That they don't have to declare themselves completely
00:03:44Because they're very bad at that.
00:03:46What things do you have?
00:03:47I'm old.
00:03:49And a lot of experience
00:03:50Well
00:03:53I'll take this one
00:03:54You are going to hear from the great film artist
00:03:56The song Carmen Reyes
00:03:57In Love at First Sight
00:03:58Love at first sight
00:04:20I received it one morning
00:04:24What joy and what excitement!
00:04:28I least expected it.
00:04:32Without words and without kisses
00:04:36It was all about the look
00:04:40My heart was captured
00:04:43Just like my soul
00:04:45Just like my soul
00:04:47Oh, what a shame.
00:04:49Oh, what a shame.
00:04:51My Lord
00:04:56Who would have thought it?
00:04:59That his eyes and mine
00:05:03They have not met again
00:05:06Even if I want to
00:05:09Even if he wants to, he won't forget.
00:05:10That instant attraction
00:05:13Of love
00:05:15Forever
00:05:17And while he watches and goes
00:05:19I will have the wound
00:05:20That caused me
00:05:23I don't want to remember
00:05:44That love
00:05:46Like a picture
00:05:47No promises
00:05:50Not even heat
00:05:51Because it was with his eyes
00:05:55How many times I wish
00:05:59To meet him face to face
00:06:03And return the favor.
00:06:07That I would leave that morning
00:06:10Oh, what a shame.
00:06:15My Lord
00:06:19Who would have thought it?
00:06:23That his eyes and mine
00:06:27They have not met again
00:06:30Even if he wants to, he won't forget.
00:06:34That instant attraction
00:06:36Of love
00:06:38Forever
00:06:41And while he watches and goes
00:06:42I will have the wound
00:06:44That I
00:06:46Cause
00:06:50That's enough.
00:06:55What's wrong, Don Demetrio?
00:07:01All these telegrams
00:07:03You took them
00:07:04With that radio
00:07:05Next to your ear
00:07:05TRUE?
00:07:06Yeah
00:07:07And?
00:07:08And?
00:07:09For carrying with the manipulator
00:07:11The rhythm of the pasodobles
00:07:13The mambos
00:07:13And the guarachas
00:07:14They are full of nonsense.
00:07:16My father
00:07:17Look at this
00:07:19He completed it
00:07:23Don Ramón
00:07:23The apothecary
00:07:24A few days ago
00:07:25It is addressed
00:07:27To the President
00:07:28From the official school
00:07:29From pharmacists
00:07:30And listen to what he says
00:07:32Receive
00:07:33My deepest
00:07:34Condolence
00:07:35And ole with ole
00:07:36And saltiness
00:07:37Ramón Castro
00:07:38Go on
00:07:38Do you realize?
00:07:40Yes sir
00:07:40That's from some bulerías.
00:07:41Carmen Reyes sings
00:07:43This is it, isn't it?
00:07:44To Carmen Reyes
00:07:45Don't touch it.
00:07:46Stump
00:07:47Is it something of yours?
00:07:49As if it were
00:07:50But
00:07:51Do you know her?
00:07:53Just hearing her sing
00:07:54You're crazy
00:07:54And she's an angel
00:07:55Excuse me
00:07:56Don Demetrio
00:07:56But these days
00:07:57I'm a little nervous
00:07:58You already know.
00:07:59That I wrote to Madrid
00:08:00Asking them to sign me up
00:08:01In that film competition
00:08:02New faces
00:08:03Do you still believe
00:08:05Are they going to admit you?
00:08:06Why not?
00:08:07I am a face
00:08:08New
00:08:08And also very photogenic
00:08:10Photo...
00:08:11That?
00:08:12Photogenic
00:08:13Besides
00:08:14I think they give preference.
00:08:16To those of us who know
00:08:16Do you think you're a singer too?
00:08:19Doña Palmiro
00:08:20He says my voice already sounds very good.
00:08:21Good teacher
00:08:23You brought it on yourself.
00:08:23She sang in the opera some time ago
00:08:26She
00:08:26The songs
00:08:27She hasn't sung
00:08:29Not even while playing cards
00:08:30I know her.
00:08:32He even wanted to marry me
00:08:34Well...
00:08:35Oh
00:08:36Some say that you were the one who...
00:08:38Lies!
00:08:40If I had wanted to
00:08:41The thing is, I just didn't feel like it.
00:08:43Do you understand?
00:08:44No no
00:08:44I don't care.
00:08:45There you said
00:08:46You, as an older person, can...
00:08:47Have you told him you want to go to Madrid?
00:08:48To enter that contest?
00:08:51No sir
00:08:52You and the Postman
00:08:53They are the only two people
00:08:54They know it for now.
00:08:55Well, you should tell him.
00:08:56Let's see what you think.
00:08:57That nonsense of yours
00:08:59I'm just embarrassed
00:09:01But...
00:09:02I'll tell him this afternoon.
00:09:03It won't happen today.
00:09:05Go with Doña Palmira
00:09:07So, an opera singer?
00:09:10Good afternoon, Mrs. Palmira
00:09:15Hello Antonio
00:09:16Please forgive me for being a little late
00:09:18But the thing is...
00:09:19Don Demetrio arrived late to relieve me
00:09:20Yeah
00:09:21Here you are
00:09:22A pack of stings
00:09:24I have requested a policy of one fifty
00:09:26Oh
00:09:27Oh
00:09:28How silly
00:09:29Antonio's Pass
00:09:31With your permission, ma'am
00:09:32I'll be right there
00:09:33Well
00:09:42I'll leave you alone
00:09:43Be very careful when shipping
00:09:45You are very absent-minded
00:09:46Yes ma'am
00:09:47What a woman
00:09:51The night they took that photograph of me
00:10:03It was my greatest artistic success.
00:10:05Uh-huh
00:10:05Shall we begin?
00:10:07Yeah
00:10:08Yes ma'am
00:10:08Oh, don't call me ma'am.
00:10:11Call me Palmira
00:10:13We're going to vocalize with the
00:10:18Yeah
00:10:18Try to deepen your voice
00:10:33Open your throat
00:10:35And expel the air in a column.
00:10:37Look
00:10:38Girls
00:10:48They'll be boyfriend and girlfriend when you say so.
00:10:50But I think it's a very strange way to flirt.
00:10:53Perfect
00:11:05The rooster
00:11:06The voice
00:11:07That's how it should sound
00:11:09Yeah
00:11:09Rest
00:11:10Now I
00:11:15I wanted to tell you
00:11:16One thing
00:11:17What, Antonio?
00:11:21I've wanted to tell him for two or three days.
00:11:23But I didn't dare
00:11:24I don't know if you'll approve.
00:11:26Do you think I'm not an understanding woman?
00:11:30Man
00:11:30Comprehensive
00:11:31It depends on how you look at it
00:11:33Come on
00:11:34Sit here with me
00:11:36One moment
00:11:38Here
00:11:41Speak without fear, Antonio.
00:11:48Say whatever.
00:11:49Well
00:11:51Well
00:11:53Oh
00:11:54I almost had it
00:11:55I'm excited about one thing
00:11:58Come on
00:11:58I'm quite excited.
00:12:00What is said
00:12:01I
00:12:02I don't know if you'll approve.
00:12:05Clear
00:12:05Just like that
00:12:06No no
00:12:07Oh ok
00:12:07It's going to be soon
00:12:08Quite some time has passed.
00:12:11AND
00:12:11But
00:12:13Well
00:12:14You know what it's about
00:12:15How could I not know?
00:12:20You already
00:12:21Be careful, don't go
00:12:23You no longer seem to mind that I
00:12:24How is?
00:12:25No no
00:12:26Is their aspiration so legitimate?
00:12:31So
00:12:31You give me your approval.
00:12:34Yeah
00:12:35Thank you Palmira
00:12:38Now I truly see the future with optimism.
00:12:41What a kid
00:12:42Joker
00:12:44I was afraid that he would disapprove of that
00:12:46Fool
00:12:47God-Man
00:12:48I feel like singing
00:12:49The village cows have already gone astray.
00:12:52We continue rehearsing
00:12:54No no
00:12:55From now on, it's not a good idea for us to be alone together.
00:12:57But why?
00:12:58Let me
00:12:59I'm going there.
00:13:00Gossip must be avoided.
00:13:02Yes, yes
00:13:02It's best if we separate now.
00:13:04As one man
00:13:04I
00:13:05That's what we were supposed to do
00:13:06Separate
00:13:07Come on, crazy guy
00:13:09No, don't call me crazy.
00:13:10Tomorrow, try
00:13:11One hour's walk
00:13:12Well
00:13:13And speaking of everything, a little bit
00:13:14And the lesson?
00:13:16We'll give it as always.
00:13:17I'll let a friend know so she can be with us.
00:13:19Have you seen how tall I am?
00:13:20Go on, leave me alone now
00:13:21I'm nervous
00:13:22Extremely nervous
00:13:24One moment
00:13:24I'm going to look at myself.
00:13:25Let's see
00:13:25Yes, I'm here.
00:13:26The piano is over there.
00:13:28Bye
00:13:30Oh
00:13:33La, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la
00:14:03Good afternoon, Mr. Demetrio
00:14:12Hello, Emilio
00:14:14We're working, huh?
00:14:15We are, as they say, overwhelmed with work
00:14:17Man, you only have to look at you
00:14:19Here, a letter for Antonio
00:14:22Oh
00:14:25That's what she was expecting, right?
00:14:27Surely
00:14:27See you later, and take care.
00:14:29Thank you, Emilio
00:14:31Bye
00:14:32Antonio, do you have a letter?
00:14:46Huh? A letter?
00:14:48Bring
00:14:48Wow, with you
00:14:51From the production company, it belongs to the production company
00:14:54Look at the letterhead, it says so here.
00:14:56Commercial Film Productions Inc.
00:15:02Well, maybe not
00:15:05They're calling me, they're calling me
00:15:09I'm going to appear on the screen
00:15:12I'm going to sing in the audience
00:15:14I'm going to be famous, yes
00:15:16Here, it says it here.
00:15:18Didn't you manage it?
00:15:19Look, admit that
00:15:21I'm going to tell the whole town
00:15:22Excuse me, goodbye
00:15:25See you later
00:15:26But what are you doing?
00:15:28No, one moment
00:15:28I've snuck in
00:15:29It's that way, that way
00:15:30My mother
00:15:33Oh, Mrs. Indalecia
00:15:36Congratulate me
00:15:36Congratulate me
00:15:37My God, how lucky!
00:15:38They call me
00:15:39Now I'll explain it to everyone.
00:15:41When I go there
00:15:41Just a moment, just a moment
00:15:42I don't want to...
00:15:43Oh, it's incredible!
00:15:46My God, but among so many...
00:15:48As?
00:15:49Oh...
00:15:49It is true that you are there
00:15:52I thought I was in the cave
00:15:53Oh, wait a minute
00:15:54The old Jewish woman
00:15:55They're calling me, they're calling me
00:15:57I'm going to work in film.
00:15:58As?
00:15:59Yes, I'm going to Madrid
00:16:00Here, it says it here.
00:16:01Antonio Santos, it was a pleasure.
00:16:02See you tomorrow
00:16:03A star
00:16:05Antonio
00:16:05My Antonio
00:16:07Do you know what's happening?
00:16:10Perhaps the telegraph men have already arrived.
00:16:12No, man
00:16:13To Antonio and the telegraph
00:16:14He's been called to make a film in Madrid
00:16:15When?
00:16:16Do you know what's happening?
00:16:20No
00:16:20What's the story?
00:16:21Antonio
00:16:22The one who sends the telegrams
00:16:24She gets married
00:16:24No way?
00:16:26He's going to Madrid
00:16:27And we need someone who works in film
00:16:29And it's not there.
00:16:30Is it possible?
00:16:30I believe it.
00:16:31Up you go, boys
00:16:33Antonio, let's see if you can overwhelm everyone
00:16:35Have a good trip
00:16:35And that you prove in Madrid what a man of experience is worth.
00:16:38Thank you, Don Demetrio
00:16:38You are very kind
00:16:40Would you like to take this package of mussels?
00:16:42Of course
00:16:43And this is to sweeten your trip
00:16:46Thank you, Mrs. Palmira
00:16:47You are very kind
00:16:48But I loved you, man
00:16:50That I...
00:16:50You call him from...
00:16:51From me...
00:16:52I mean, you call me...
00:16:54From you
00:16:55Are you nervous?
00:16:56Yes, I am
00:16:57A lot, a lot
00:16:58This is...
00:17:02This ends
00:17:03See you soon
00:17:05Bye
00:17:06Bye
00:17:12Bye
00:17:13Bye
00:17:14No, no, no, no!
00:17:44No, no, no!
00:18:14Good afternoon.
00:18:17Good afternoon.
00:18:18What do you want?
00:18:19What do you want?
00:18:20I'm here for the new faces contest.
00:18:22Have you been summoned?
00:18:23Yes, I have the letter here.
00:18:27Okay, okay, set number three.
00:18:29What did you say?
00:18:30Stage number three.
00:18:32Go all the way to the bottom.
00:18:33Go back to the right.
00:18:35Go out to the patio.
00:18:36Pull left.
00:18:37And then back to the right again.
00:18:39Fifth door on the left.
00:18:42Hasn't he realized?
00:18:43Yes, yes.
00:18:45Thank you.
00:18:45What is it?
00:18:46To these new faces.
00:18:48And twist?
00:18:51Give me with a velvet.
00:18:53My plate.
00:18:53Give me with a velvet.
00:19:23Thank you!
00:19:53Thank you!
00:20:23Jesus! Jesus, Thomas, I have given myself everything, man!
00:20:53Silence!
00:20:55Silence!
00:20:59Stay right there!
00:21:03Back. Further back.
00:21:07Some more.
00:21:09More. A little further back.
00:21:13That's fine.
00:21:15To the right.
00:21:17No, no, no. To the left.
00:21:19Lower it a little.
00:21:23Lower it a little.
00:21:25More. A little more.
00:21:27Further.
00:21:31That's fine.
00:21:37The tocado is mounted here. What's in the way, man? Silence!
00:21:45Playback. Motor.
00:21:49Action.
00:21:51In the streets of my neighborhood, a copulation goes the wind, of a flirtatious girl who guesses thoughts.
00:22:05Bullfighters and dealers are fighting over her, and she says that not even the King of Rome himself is enough.
00:22:15Salamera.
00:22:17Salamera.
00:22:19Salamera.
00:22:21Salamera.
00:22:23Salamera.
00:22:25Salamera.
00:22:26I need, for my own good, the caress of your eyes to forget a love!
00:22:35Salamera, I need for my own good the caress of your eyes, to forget a love, give out kisses and laughter, long live the charm woman, salamera, beautiful rose, and by your grace I will die, by your grace I will die.
00:23:05The wonder of her enchantment lies in the girl's eyes, which captivate people with the way she looks at them. She's a flirt if she looks at me, don't guess what I'm thinking, I don't want her to close, my soul is wanting me, cut it out, it's no use, I'm also in the way here.
00:23:35Can't you see that you're in the middle of a field?
00:23:39Oh, am I in the countryside?
00:23:43This is life.
00:23:45Stop the playback!
00:23:45Get rid of that playback!
00:23:48Come on, get out of here!
00:23:52Come on, come on!
00:23:53Go on, leave!
00:23:53I've really gone all out, man!
00:23:55Come on!
00:23:55Come on!
00:23:56Come on!
00:23:57Okay, me!
00:23:58Let's see!
00:23:59Get out of here!
00:24:00The new thing is that someone's coming here!
00:24:04New face!
00:24:05Silence!
00:24:09The director is thinking!
00:24:14Please, Carmen, for the sake of clarity in the editing, we'll start from here, after the chorus, do you understand?
00:24:20Yes, Hannibal.
00:24:23Ready?
00:24:24Just a moment, please.
00:24:25Silence!
00:24:25Slow!
00:24:26Slow!
00:24:26Slow!
00:24:26Slow!
00:24:26Slow!
00:24:26Slow!
00:24:28Good.
00:24:29Turn off the cycle!
00:24:30Silence!
00:24:32Concentrate!
00:24:33A little more.
00:24:35There!
00:24:37There it is!
00:24:37Get out, man!
00:24:38Don't you see what you're getting in the way of?
00:24:41Pleiad!
00:24:43Engine!
00:24:45Carmen the bandit, 240.
00:24:47First.
00:24:47Salmera, salamera, salamera, I need for my own good, the caress of your eyes, to forget a love, give out kisses and laughter, long live the charm woman, salamera.
00:25:15Beautiful rose, beautiful rose, and by your grace I will die, by your grace I will die.
00:25:22I'll die soon.
00:25:23I'll die soon.
00:25:35She gives out kisses and laughter, long live the charm, woman, charmer, beautiful rose, and by your grace I will die, by your grace I will die.
00:25:49Cut!
00:25:56This one is good.
00:25:57To make the second one positive, and this one from...
00:25:59Yes, Hannibal.
00:26:04Very good, Carmen.
00:26:05Now we'll do the interleaving that we forgot the other day.
00:26:08Do you remember?
00:26:08Yes, Hannibal.
00:26:15Turn everything off!
00:26:17Create an atmosphere!
00:26:19Here's a 5 kilo.
00:26:22Turn on the 6-3.
00:26:25Direct it here.
00:26:26Silence!
00:26:28That's a bite!
00:26:29Silence!
00:26:32Well, do you remember?
00:26:35Very dramatic.
00:26:36Yes, Hannibal.
00:26:37Alright.
00:26:38Give off all the light!
00:26:39Try to keep it up until the end.
00:26:40Look here, that's where the handsome guy is supposed to be.
00:26:43OK.
00:26:45Engine, rolling.
00:26:46Carmen the bandit, 212, first.
00:26:50Action!
00:26:52You hadn't left.
00:26:57But I thought you were gone forever.
00:27:01Come.
00:27:02Come to me.
00:27:03And you are so precious.
00:27:09I am happy.
00:27:11We can still both be happy.
00:27:13Come.
00:27:14I finally get to see you again.
00:27:18Come.
00:27:19Go?
00:27:20Come.
00:27:21Nothing, man.
00:27:21If this is...
00:27:22Excuse me, just a moment.
00:27:23I'm going to...
00:27:24I'm here now.
00:27:27But man!
00:27:28But man!
00:27:29Get out of my sight!
00:27:30Get this man away from my son!
00:27:32Come on!
00:27:32Come on!
00:27:34Get out of my sight!
00:27:34Leave or I'll kill you!
00:27:35Leave or I'll kill you!
00:27:40Calm down, daughter, calm down!
00:27:42Yes, Hannibal.
00:27:45And give it your all, here I come!
00:27:47That's outrageous!
00:27:48What a new face they're giving me!
00:27:53He'll be happy, huh?
00:27:54No, no, sir.
00:27:54Quite the opposite.
00:27:55Do you know who I am?
00:27:56If you don't tell me, no, of course not.
00:27:58I am Mr. Miguel Colina, artistic representative of Carmen Reyes.
00:28:02I didn't know.
00:28:03Why have you come to hinder the work of my client?
00:28:06Well, you see, I came here for the new faces contest.
00:28:10Very good.
00:28:11Let's see.
00:28:13I don't know if this...
00:28:15No, that's over there.
00:28:16Ah.
00:28:16Yeah.
00:28:17Come on.
00:28:18Over there?
00:28:19Careful.
00:28:21Silence.
00:28:22Jesus.
00:28:23Had you never been in a film studio before?
00:28:27No, no, sir, no.
00:28:28Well, that's it.
00:28:29Hey?
00:28:29A projector.
00:28:30Yes, I see.
00:28:31You have to keep quiet.
00:28:33That?
00:28:33Nothing.
00:28:34Entry is prohibited as soon as you arrive here.
00:28:35That God passes by, that God is everything.
00:28:37No.
00:28:37You arrive here, without realizing it, and...
00:28:39I don't understand anything he's saying.
00:28:40You have to be quiet!
00:28:42That's it.
00:28:43Here you go.
00:28:44Careful.
00:28:44Oh no, I can't.
00:28:45Entry is prohibited.
00:28:47Ah, that's something you put on, if it were.
00:28:49Here, the paper.
00:28:50The umbrella for you.
00:28:51Give me the holes.
00:28:52The package.
00:28:52The ones near Tapacio.
00:28:54Fly, fly.
00:28:55I sang to you and I phallus.
00:28:57I'm excited.
00:28:58Yeah.
00:29:03I don't know if this...
00:29:05Perfect tens!
00:29:08The catwalk!
00:29:11The box above!
00:29:14Okay!
00:29:14Okay, that's fine by me.
00:29:22Already.
00:29:23Take care of the focus.
00:29:27Don't worry.
00:29:27Without nerves.
00:29:29No, no, no.
00:29:29Calm down, calm down.
00:29:31Pay attention to everything I say.
00:29:33Without nerves.
00:29:34It's very easy, isn't it?
00:29:38Ready?
00:29:39Yeah.
00:29:39Engine.
00:29:41Rolling.
00:29:43Smile.
00:29:45Smile more.
00:29:48Smile more.
00:29:50Further.
00:29:51Further.
00:29:51I don't like this guy's smile.
00:29:59And neither do I.
00:30:04Let's see.
00:30:07Get serious.
00:30:09Wait.
00:30:11Just a moment, just a moment.
00:30:12More serious.
00:30:12More seriously.
00:30:17Further.
00:30:21Come on.
00:30:22They make me laugh and then get serious.
00:30:26Cut.
00:30:28Okay, give me the dialogue.
00:30:29We follow the mute.
00:30:31Here it is.
00:30:36Okay, you give it to him yourself.
00:30:37Yes, very good.
00:30:38Now you will try to repeat what this gentleman tells you.
00:30:47OK?
00:30:48Yes, sir, yes.
00:30:49Sit down.
00:30:51Sit down.
00:30:53Imagine you are on the deck of a large ocean liner.
00:30:59It is night.
00:31:01You are gazing at the moon, leaning on the railing.
00:31:05Let's see, they should give this guy a job.
00:31:08That's done.
00:31:10Let's see, a brace.
00:31:13Lean on that.
00:31:15Lean on it, without fear.
00:31:16This won't sink.
00:31:17No, no, no, no.
00:31:20Perfect.
00:31:21Perfect.
00:31:22So you're looking at the sea.
00:31:27How much water?
00:31:28No, man, no.
00:31:29How are you?
00:31:29Street, street.
00:31:30Dialogue, dialogue.
00:31:31Daisy.
00:31:32Come on.
00:31:34Come on.
00:31:34Tell me, Margarita.
00:31:36Where is?
00:31:37Who?
00:31:38Daisy.
00:31:39But, man, what does it matter?
00:31:40What does it matter?
00:31:41Oh, if I have to talk to Margarita and Margarita isn't there, it's like I'm talking to myself alone.
00:31:46In which case, I stay silent, I don't say anything to myself, and...
00:31:48Enough!
00:31:48Well.
00:31:49I am Margarita.
00:31:51Well, when you say so...
00:31:52Daisy.
00:31:55Daisy.
00:31:58Margari...
00:31:58How can I call this man Margarita when I don't know him at all...
00:32:02Sit down!
00:32:03And it's going to be strange, and everyone, everyone here...
00:32:05Feel it!
00:32:07Goes?
00:32:08Daisy.
00:32:12You're right, son.
00:32:13But anyway, I already have an idea of what you're like.
00:32:15It is carried on the ship.
00:32:16Yes of course.
00:32:17Your name?
00:32:18Antonio Sánchez.
00:32:19Take note.
00:32:20Do you sing?
00:32:21Yes sir.
00:32:22Do you want to see it?
00:32:22You'll see for a moment.
00:32:23Look.
00:32:24Enough.
00:32:24Enough.
00:32:25Enough.
00:32:25If you are selected in the photo test...
00:32:28In two or three days they will notify you about the singing tests.
00:32:32Nice to meet you.
00:32:33The pleasure is all mine.
00:32:34The good family?
00:32:35Very good.
00:32:35The little one a little more.
00:32:36Oh, daughter.
00:32:37Okay, okay.
00:32:38But let's leave the family aside.
00:32:39Bye bye.
00:32:39Bye bye.
00:32:40Good afternoon.
00:32:40Bye bye.
00:32:41Other.
00:32:45A high trip here.
00:32:47Let's see, that miserable thing.
00:32:50Not that house.
00:32:52Other.
00:32:53Let's see, Mr. Manuel González.
00:32:53Mica, that one.
00:32:57Further.
00:32:58Okay.
00:32:59Fix it.
00:33:02Mica.
00:33:03Close that door on him!
00:33:05Further.
00:33:07Is this one here?
00:33:08Silence.
00:33:09Okay.
00:33:20Listen, I know you.
00:33:22Yes, maybe.
00:33:24Of course, you're Andrés.
00:33:26Cousin Andrés.
00:33:27A hug!
00:33:28He's better.
00:33:29Okay, wait a minute.
00:33:30In any case, I'll be his cousin Antonio, which is my name.
00:33:33Aunt Herminio, you, she's not a girl.
00:33:35It can't be like you, my cousin.
00:33:37You're right.
00:33:39Hey, Carmen Reyes is still in there.
00:33:40Yeah.
00:33:40I just wanted to stop by and apologize for what happened earlier.
00:33:44Ah.
00:33:45Are you the journalist who treated her badly in your review?
00:33:48Me, but he's never written anything.
00:33:50Happens.
00:33:50Go in and apologize to her.
00:33:52But hurry up, because I was just about to leave to go to the radio station.
00:33:55Ah, I see.
00:33:56Yes, man, hurry up.
00:33:57I'm coming.
00:33:58He's going to leave.
00:33:59I'm coming, son.
00:34:00Oh.
00:34:03Oh, mother!
00:34:04Here it goes.
00:34:06How awful!
00:34:08I put it in with the whole door, right?
00:34:10The one from before.
00:34:11Yeah.
00:34:12Get out!
00:34:12Get out!
00:34:13I don't want to see him anymore!
00:34:15Come on, get out of here.
00:34:16Get out of here!
00:34:16What are you going to throw at me?
00:34:17What did he throw at me?
00:34:18That is.
00:34:19He's not on the radio now, even though he's dying today.
00:34:29But what does he do?
00:34:30Well, it's going to happen.
00:34:31Yes, that's what I needed.
00:34:32Let's go to the radio.
00:34:33The necessary one.
00:34:36Bye bye.
00:34:36Bye bye.
00:34:40Hey!
00:34:41The order of the radio!
00:34:42That I...
00:34:43I'm going to lower that.
00:34:54Man, this...
00:34:55Hey, which way does the radio go?
00:35:00Good morning.
00:35:01Good morning.
00:35:02Were you the one who called about the contest?
00:35:04Yes, I am, but...
00:35:05Look, come this way, they're waiting for you.
00:35:08Me?
00:35:09Yes, yes, sir.
00:35:11Should I go in?
00:35:12Happens.
00:35:14Of the two attendees called at random by phone, we have Miss here.
00:35:20The gentleman seems to be lagging behind, which proves that the woman is more diligent than the man.
00:35:27Ah!
00:35:28Here it is, dear listeners.
00:35:30Come on, please.
00:35:32I leave the suitcase.
00:35:33No, no, sir, with complete confidence.
00:35:35Come this way, please, with your suitcase and everything.
00:35:37Come on, do you want to come closer to the microphone?
00:35:40This way, please.
00:35:41Through the central aisle.
00:35:42Without rushing, calmly.
00:35:44That's it, slowly, this way.
00:35:46Please do that.
00:35:47Yes, yes.
00:35:47Well, ladies and gentlemen, here it is.
00:35:51He will not complain about the ovation with which the public receives him.
00:35:54Oh, is that me?
00:35:54Of course it's you, naturally it's you.
00:35:56Well, although the young lady was the first to answer our call, we must acknowledge
00:36:03that both of them have been quick to respond to our request.
00:36:07Let's see what the surprise suitcase contains now.
00:36:11Which of the two was lucky enough to find the most appropriate gift for the other?
00:36:18Sir, the audience, so kind, will tell us with their applause which gift they find most appropriate.
00:36:25They applaud and watch.
00:36:26Miss, let's start with you.
00:36:27Let's see what's in the suitcase.
00:36:29Great, a real summer cap.
00:36:34And now, some sunglasses.
00:36:38Please, gentlemen.
00:36:40Very good, perfectly.
00:36:42And finally, a magnificent tie.
00:36:44A beautiful tie, a gift from the lady to the gentleman.
00:36:48You have to put it on yourself.
00:36:59The latest fashion from Paris.
00:37:05Okay, let's see what you have for the young lady.
00:37:09Do you want to open your suitcase?
00:37:11What for? If not...
00:37:12Our contestant is a little scared.
00:37:14Anyway, I'll open it myself.
00:37:16He's a little nervous. Don't worry.
00:37:19Okay, let's see what's in this suitcase.
00:37:24Wow! It's a men's undergarment.
00:37:26Clearly, this gentleman hadn't realized that our contestant was a lady.
00:37:33I didn't know anything.
00:37:34Since I don't think the young lady will be interested in the gift...
00:37:36Why would I care?
00:37:38We'll return it to the gentleman. Here you are, ma'am.
00:37:43Therefore, Miss [name] has emerged victorious.
00:37:46to whom we are now handing over the 5,000 pesetas that have been due to him.
00:37:50How exciting!
00:37:503,000, 3,000, 3,000, 4,000, 5,000 pesetas.
00:37:59Thank you so much.
00:37:59You're welcome, miss.
00:38:01Come on, baby, say something.
00:38:02Mom, it's Tere.
00:38:03Goodbye, Tere, my daughter. Good morning.
00:38:05And you? Would you like to say hello?
00:38:06How are you all?
00:38:07Very well. And you? And you?
00:38:09Well, sir. Here is your little suitcase with everything you brought.
00:38:14Since I only have one change of clothes, I've gotten rid of the quick-release system.
00:38:16I forgot my ponytail. Never mind. Goodbye, goodbye, goodbye.
00:38:19Goodbye, goodbye.
00:38:49Goodbye, goodbye.
00:39:19Silence.
00:39:20Shall we go now?
00:39:21Fernanda was born in Utrera, a little corner of Andalusia.
00:39:38Charming and picturesque throughout her life.
00:39:43Like the Oca, he lives dreaming of his singing and his dancing and a contraband love with a promise in the air.
00:39:52Fernanda was born in Utrera, a little corner of Andalusia.
00:39:53She dances to the rhythm they play, unable to resist.
00:39:57Lots of charm, lots of grace, go ahead, go ahead, go ahead, go ahead, go ahead, go ahead, go ahead, go ahead, go ahead, go ahead, go ahead, go ahead.
00:40:02Fernanda of Andalusia.
00:40:03Fernanda de Utrera, oh, look at that, with her love and her song, she is very happy, whoever wants to weigh, let him go to the river, and whoever wants nuts, what a huge noise.
00:40:18The open secret has no doors, afterwards it's talked about, oh, more than necessary.
00:40:29Fernandita has already gotten married when no one expected it, and her blood has crossed her with a pacho whom she adored.
00:40:38He doesn't care about the anger, nor the clamor of the gypsies, love passed to the road, it joined him with that courtyard.
00:40:48Time runs and doesn't stop, and Fernanda still says, "You're a gypsy."
00:40:55Long live your mother, that's how you sing!
00:40:57Out, it's no good.
00:40:58Short.
00:41:00You again?
00:41:01Who let her in?
00:41:02Since there was no goalkeeper, I told myself the opportunity, they paint it bald.
00:41:05Get out of here!
00:41:06For now you will have to leave here, but now for the explanation.
00:41:08I would never have done it.
00:41:09But an explanation, that's what it is.
00:41:10You want me to be a saint, a saint in heaven!
00:41:12What's a pain, man?
00:41:13Yes, go ahead and kick me, the kick doesn't smell or anything, it's not.
00:41:17It won't hold up.
00:41:20Oh, well, let's do it again.
00:41:28Whenever you want, teacher.
00:41:32Out, out, no fair, out!
00:41:35And now I've forgotten the lyrics.
00:41:36That man got me out of here!
00:41:39Can?
00:41:40Forward.
00:41:41What's happening now?
00:41:42Please excuse me for interrupting, but on leaving here I've done a sort of
00:41:45I examined my conscience and told myself, well, here I am missing something.
00:41:47Suitcase, umbrella, sausage.
00:41:49You'll see.
00:41:49What is it?
00:41:50Umbrella, that's it.
00:41:51Get out of here!
00:41:52But, if it rains...
00:41:53Out!
00:41:53Do you want to leave here?
00:41:54Can I get wet?
00:41:54Wait for me, young man, without nerves.
00:41:55In the realm of friendship.
00:41:56Hello, man.
00:41:57There are no umbrellas here.
00:41:59Will you please leave?
00:42:00Look for another place.
00:42:01There are no umbrellas here.
00:42:03Oh!
00:42:04But what happened to him?
00:42:07Oh, she has her umbrella!
00:42:09No!
00:42:10Your umbrella!
00:42:11Your damn umbrella!
00:42:13Look, man, it's raining now.
00:42:14And what do I use to pick it up?
00:42:16I'm sorry, teacher.
00:42:17We'll have to leave it for another day.
00:42:18My nerves aren't up for recordings today.
00:42:22Oh!
00:42:22Never bother that woman again.
00:42:28The new cap with the new face, man.
00:42:30I have come here to apologize.
00:42:32We ended up apologizing.
00:42:33Of course, the thing is, they haven't let me.
00:42:35I even apologized to this woman and...
00:42:37Well, you should have said so, man.
00:42:38People can understand each other by talking, man.
00:42:39Yes, the shrimp that falls asleep in the current.
00:42:41I didn't know him, he's good.
00:42:42Are you familiar with the one in León?
00:42:44No, I know the one with the beards.
00:42:45Which?
00:42:45When you see your neighbor's beard getting wet, yours will be too.
00:42:48Very good, yes sir.
00:42:49Very good, yes, it's good.
00:42:49My father used to tell me when I was little, "the pitcher goes to the well so often, but it doesn't work..."
00:42:52He's a bit silly.
00:42:53Fool, fool, he's a fool.
00:42:54And old too, of course.
00:42:55Well, I repeat that I came to apologize, I'm telling you, you stubborn fool.
00:42:57Well, apologize to her.
00:42:58What time would be convenient for me to apologize?
00:43:00She lives at the Hotel Princesa, you go there and then...
00:43:02Number?
00:43:03Number 311 of the Hotel Princesa.
00:43:04Would you please write it down for me?
00:43:05Suck it, otherwise...
00:43:06No, otherwise, no.
00:43:07Clear.
00:43:08311 in the score.
00:43:10Very good.
00:43:11I'll be there like clockwork.
00:43:12If by chance she returns to the station, tell her that I have gone there to the hotel.
00:43:15Yes of course.
00:43:15He'll go to sleep sometime.
00:43:16Well, that's to be expected.
00:43:18Don't you have any proverbs to tell me?
00:43:19Well, not anymore.
00:43:21Well, I have the leftover piece.
00:43:22Have pieces.
00:43:24No no.
00:43:25If the chorizo from Pamplona and the hanfermíes.
00:43:27My God.
00:43:28Okay, so to leave, I'll do the same thing I did when I came in, but in reverse.
00:43:31The same as the other way around.
00:43:31I find myself on the street.
00:43:32Retracing our steps.
00:43:34Cuddly.
00:43:34He's nice.
00:43:35Well, please don't forget to apologize.
00:43:37No, man, for God's sake.
00:43:38Please excuse me, okay?
00:43:39Yeah.
00:43:40Goodbye, friend.
00:43:42Bye bye.
00:43:43No, no, further to the right, more like this.
00:43:44Yes, yes.
00:43:49Who is this umbrella?
00:43:53We need to see Miss Carmen Reyes.
00:43:55We are journalists.
00:43:56Very well, sir.
00:43:57But I've already told you to come back tomorrow.
00:43:59Miss Carmen doesn't receive anyone.
00:44:01That is, only to one person who will arrive at any moment.
00:44:03Engaged, right?
00:44:05I think so.
00:44:06He is precisely the one we came to see.
00:44:08We knew he had arrived today.
00:44:10Is this an interview?
00:44:12Yes of course.
00:44:12It is a fitting tribute to a Spaniard who has had such great success in America.
00:44:16They now call him the singer on screen.
00:44:18Indeed.
00:44:18And so?
00:44:19We'll be back later.
00:44:20Hello, however you want.
00:44:21Bye bye.
00:44:23Come on.
00:44:27What's happening?
00:44:28This way, sir.
00:44:33Good evening, sir.
00:44:34How am I?
00:44:35Oh, sorry.
00:44:38Good afternoon.
00:44:39Room, sir.
00:44:40No, no, no.
00:44:41I just came to look around.
00:44:44Yes, yes.
00:44:46Who did he want to see?
00:44:47First I wanted to see.
00:44:48View in general.
00:44:49Oh, that's great.
00:44:50And I also wanted to see Miss Carmen Reyes.
00:44:53Your name, sir?
00:44:54My name is Antonio.
00:44:55The singer on screen.
00:44:57Yes, I came here for the movie thing.
00:44:59And to sing, of course.
00:45:00And that you do it very well, as far as I understand.
00:45:03It's worthless.
00:45:05Who told him?
00:45:05Miss Carmen.
00:45:07She?
00:45:07And he says that although his triumph is recent, all the newspapers here will soon be talking about him.
00:45:13You see, I've come from elsewhere and...
00:45:15Yes, yes, I know that too.
00:45:17Ah.
00:45:17Listen, and believe me, we're all eager to see you perform.
00:45:21Well, I'm looking forward to it too.
00:45:23Welcome, sir.
00:45:25Thank you.
00:45:26Take your luggage to number 27.
00:45:29No no.
00:45:29Wait, let's not get nervous.
00:45:31I mean, yes, I get angry, okay?
00:45:33I didn't come here to stay.
00:45:34As?
00:45:35He just doesn't like it.
00:45:36Yeah.
00:45:37How lovely, but...
00:45:38Miss Carmen chose it herself.
00:45:41He specifically asked us to reserve that room for him.
00:45:43Hey?
00:45:44I knew he was coming.
00:45:46Naturally, if you warned him.
00:45:47Ah, it's because he went back to the radio station.
00:45:49I don't know how to tell you.
00:45:50He's upstairs in the room now.
00:45:52Already.
00:45:53Would you like to fill out the form, please?
00:45:56Listen to Miss Carmen.
00:45:58Good.
00:46:02Hello?
00:46:03Miss Carmen, the gentleman you were expecting is here.
00:46:06Already?
00:46:06It has arrived at this moment.
00:46:08Tell him to put on the device.
00:46:12Do you want me to put it on?
00:46:13I?
00:46:16Tell me.
00:46:17Antonio?
00:46:18Yes, it's me, he's the one who called me.
00:46:20Darling, what a joy I am.
00:46:22For my mother's sake, what did she say, darling?
00:46:24Finally, you're finally here.
00:46:27How I have longed for your arrival.
00:46:28No, well, thank you.
00:46:29He's so excited.
00:46:30How obvious is it?
00:46:31Yes, this can, that's the most important thing.
00:46:32Since I wasn't expecting you so soon, I'm only half-getting ready.
00:46:35Look, go up to your room and come back for the girl in half an hour.
00:46:38Come and get it?
00:46:40Until next time, darling.
00:46:47Dear.
00:46:49Happiness.
00:46:50Oh, oh.
00:46:51Forgive me, forgive me.
00:46:52No, I don't care.
00:46:52I've stained it a lot, well, no, no, don't worry, don't worry.
00:46:55The manicurist has a liquid that removes any stain in an instant, no
00:46:58Don't worry, everything will be alright.
00:47:00Buttons.
00:47:01Tell me.
00:47:02Accompany him, ma'am, to the hairdresser and have him attended to immediately.
00:47:04That's all, forgive me.
00:47:06Thanks, uh.
00:47:07Thank you so much.
00:47:08That's all that's needed.
00:47:08With a thousand loves.
00:47:09Forgive me, God.
00:47:10Thank you.
00:47:11Here.
00:47:11It stains you, huh.
00:47:12Silly.
00:47:18Silly.
00:47:18Silly.
00:47:19Oh, come in, sir, come in, sir.
00:47:21Please sit down, sir.
00:47:22But you have been foolish.
00:47:23Full service, sir.
00:47:24Full service, sir.
00:47:26Oh, oh.
00:47:27I'm going through, I'm going through.
00:47:28Oh, the manicure.
00:47:29Maruja.
00:47:30Ah, this is it, this is it.
00:47:32As the gentleman wishes.
00:47:33Good morning, sir.
00:47:34Wow, what a cute young lady.
00:47:35I'm going to greet that customer.
00:47:38The hand.
00:47:39Yeah.
00:47:40The hand.
00:47:41The old woman's coming hand.
00:47:42The hand, sir.
00:47:43Have you seen?
00:47:44What a long neck that man has!
00:47:45Yeah.
00:47:46What do I do now?
00:47:46Put your hand in, sir.
00:47:50Has the singer from the screen arrived?
00:47:51Yes sir.
00:47:52She's at the hairdresser's.
00:47:53I'm starving.
00:47:53Come on.
00:47:54Accompany these gentlemen.
00:47:55This way, sir.
00:47:59Here the gentleman is.
00:48:00Thank you, young man.
00:48:03Good morning.
00:48:03Good morning.
00:48:04Good morning, gentlemen.
00:48:05How are you?
00:48:06Well, I'm washing myself because I was dirty.
00:48:08And the finger too.
00:48:08We are journalists.
00:48:09We were informed that you were coming today.
00:48:10And I've decided to interview him.
00:48:12And here we are.
00:48:13Oh, you too?
00:48:14Much has been said about her magnificent performance in bed.
00:48:17You are so cute.
00:48:18Not much.
00:48:19He doesn't say much.
00:48:20How modest.
00:48:21Even though you lived so far away, you were known here.
00:48:24We knew he was a seasoned artist.
00:48:25Yes, it's a classic.
00:48:26From the top.
00:48:27But come on, that's it.
00:48:27Let's see.
00:48:28Glad you came?
00:48:29And I do cause harm, yes.
00:48:29Be careful, daughter.
00:48:30Well yes.
00:48:31Glad.
00:48:32More than anything, I'm happy, of course.
00:48:33How was the trip?
00:48:34Well, watch out.
00:48:35This year the fly has thrived.
00:48:36Sure, sure.
00:48:37What projects does he have?
00:48:38Well, working in film.
00:48:41I would love to see Carmen Reyes.
00:48:45You don't know that well.
00:48:46Very natural, yes sir.
00:48:48Just a moment, I'm going to talk to him.
00:48:50Does everyone know everything here in Madrid?
00:48:50Our job is to know everything.
00:48:52Do we have the photo from here?
00:48:54Very good, magnificent.
00:48:55Come on.
00:48:55Where do we go now?
00:48:57Ah, very good.
00:48:58Should I laugh or be serious?
00:49:00Yes, a little bit.
00:49:01And you guys are natural, huh?
00:49:02Be careful, it might get in my face.
00:49:03Put me on the spot.
00:49:03Lift your face slightly.
00:49:04So.
00:49:05Stay still!
00:49:07Let's do another one.
00:49:08Stay still!
00:49:08Stay still!
00:49:08Who?
00:49:21Who?
00:49:37Antonio!
00:49:38Happens!
00:49:39It didn't take long to come out.
00:50:01Sit down over there.
00:50:07Get comfortable.
00:50:08It's great that you're in Madrid.
00:50:16Imagine all the things we can do together in the movies, you and I.
00:50:23Antonio!
00:50:25You?
00:50:26You again?
00:50:26What are you doing in my room?
00:50:27But you called me a moment ago.
00:50:29I?
00:50:30Did I call him?
00:50:30Did you call me?
00:50:31But wait a minute, let's...
00:50:32Don't get nervous, okay?
00:50:34It hasn't annoyed me enough yet.
00:50:36Go away!
00:50:36My cloud goes from one moment to the next.
00:50:37If he sees him with me, he's capable of killing him.
00:50:39But I only came to apologize for the accident I had in the studio when I slammed the door so hard you saw stars.
00:50:44His coming was no more of a loss than that he came.
00:50:45I was a new face and I've come to apologize, ma'am.
00:50:47It's a joke.
00:50:47Wow, what strength!
00:50:48Come on!
00:50:48Come on!
00:50:48Out into the street!
00:50:49My photo from Solera!
00:50:51Get out of here!
00:50:52When they found out down below that my name was Antonio and that I sang on the radio, well, that's when...
00:50:55But then?
00:50:55Who did I talk to on the phone at that time?
00:50:57Well, with a server.
00:50:58And you have told him, my darling, and baby of the house, and many other things that would make him blush.
00:51:01And I'm at the hairdresser's and they've given me a lot of hair.
00:51:03I can't stand his presence for one more minute.
00:51:05Get out of here!
00:51:05Get out of here!
00:51:05Get out of here!
00:51:05Get out of here!
00:51:05Get out of here!
00:51:05Get out of here!
00:51:17You stupid hick!
00:51:47Good evening, ma'am.
00:52:14Hello good.
00:52:15Good night.
00:52:15What do you want?
00:52:16Are you Mrs. Martina?
00:52:18Servant?
00:52:18Ah, I'm here on behalf of Doña Palmira.
00:52:21I have a commission for you from Solera del Río.
00:52:24Happens!
00:52:25Happens!
00:52:26You've got this looking really cute.
00:52:28How clean, how welcoming, huh?
00:52:30Well, it hasn't been years since I've been there.
00:52:32Are you also from Solera?
00:52:34Yes, my father was the one they called "Orejas" (Ears), a really big-headed guy.
00:52:38Are you Damian the Ears' boyfriend?
00:52:40Yeah.
00:52:40Come on, come on!
00:52:42That's how I met you.
00:52:44You wouldn't be much older, would you?
00:52:45Ah, I was already a young girl.
00:52:47Ah, I thought I didn't...
00:52:49Your package.
00:52:51Chorizos.
00:52:51As if I could see them.
00:52:52Yes, yes.
00:52:53Oh, my husband is going to be so happy with how much he likes them.
00:52:56Isn't he at home?
00:52:57No, he went to take the service.
00:52:59He is serene.
00:53:00Ah, of course.
00:53:00Don't sit down?
00:53:02Yeah.
00:53:03I mean, no, no.
00:53:05I would like to go and send a telegram.
00:53:07I can leave this here, they won't touch it or mess with it.
00:53:10Naturally.
00:53:11I'll come back to pick it up later.
00:53:13Don't have accommodation?
00:53:14No, not yet.
00:53:15I haven't had time, of course.
00:53:17At this hour?
00:53:19I haven't been able to before.
00:53:21Well, it was better to leave it for tomorrow.
00:53:23You're staying here today.
00:53:24We'll sort it out.
00:53:26Well, it's going to be a lot of trouble for you.
00:53:27Nothing, nothing.
00:53:28No problem.
00:53:29Well, thank you very much, okay?
00:53:31That's all that's needed.
00:53:32That's what we're here for.
00:53:33Oh, no, beautiful.
00:53:34Well, I'm going to send a telegram.
00:53:36I know the house in such a way that...
00:53:37Listen.
00:53:38That?
00:53:39Wait a moment.
00:53:40Did you say you were going to send a telegram?
00:53:43Yes, to Solera.
00:53:44Well, send my regards to all those people and to Palmyra.
00:53:47And I will be glad that upon receiving it they are still in good health.
00:53:50I'll put it on, don't worry.
00:53:51Oh, and thanks for the sausages.
00:53:53That's precisely what I find easy, because I'm in the telegraph corps.
00:53:57Look, yes, yes, yes, yes, I said pussy.
00:54:00Look, you're going to be surprised now, see.
00:54:03Now for sausages.
00:54:04Well, goodbye.
00:54:05Goodbye, boy.
00:54:08Oh, your door is broken, isn't it?
00:54:12Goodbye, Mrs. Martina.
00:54:13Bye bye.
00:54:27Who?
00:54:37San Miguel.
00:54:38Happens.
00:54:41Good morning.
00:54:42Hello.
00:54:43Oh, a delay.
00:54:46Everything's sorted, Carmen.
00:54:48But what?
00:54:49Well, everything, what is everything?
00:54:50Well, that's it.
00:54:53Take.
00:54:54Ah, the troubles are over.
00:54:58You can pay for the hotel, you can pay for the mink, and you can pay me.
00:55:02How can I pay you?
00:55:03But what do I owe you?
00:55:05Around 50,000 duros.
00:55:07Well, you'll get paid for that eventually.
00:55:09No, Carmen, no.
00:55:10Tell me the day, daughter, tell me the day.
00:55:12However, here I am.
00:55:15I just signed a new contract with you and I've received an advance payment.
00:55:18But what is it about?
00:55:19From another film, a musical in color and in Cinemascope.
00:55:22Olmedo, the great producer, hires you and your boyfriend.
00:55:25My boyfriend?
00:55:26Clear.
00:55:28Why didn't you call me last night when he arrived?
00:55:29If you haven't arrived.
00:55:31What are you saying?
00:55:31It won't even arrive.
00:55:32We're finished.
00:55:33Sure?
00:55:35Carmen, you have another representative.
00:55:36You have betrayed me.
00:55:38No, man, it's with my boyfriend.
00:55:39Sure, man.
00:55:39She is staying in Colombia permanently.
00:55:41Look.
00:55:42He's more interested in a television contract than I am.
00:55:45Well, man, but...
00:55:50Hold.
00:55:52What does my crush do?
00:55:53Yes, it's a newspaper.
00:55:56What am I going to do?
00:55:57Let's see where this is.
00:55:58No no.
00:55:59Here.
00:56:00What does this mean?
00:56:03Oh, mother.
00:56:05Clear.
00:56:07But it's me.
00:56:10What's wrong with Antonio?
00:56:11What this newspaper says is a lie.
00:56:17I have to go and apologize right now.
00:56:20Even if it kills me.
00:56:24It's horrifying.
00:56:32There is no other solution, Miguel.
00:56:34Besides the fact that we desperately need that money,
00:56:36If we were to tell the truth now,
00:56:37We would look ridiculous.
00:56:38I can't, I can't.
00:56:43It is beyond my strength.
00:56:46That man needs to be warned.
00:56:47It has to keep going through my boyfriend.
00:56:49Yeah.
00:56:52But how is she going to sing?
00:56:54There, there.
00:57:00We'll invent something to buy time.
00:57:02The point is that the contract should not be cancelled.
00:57:03For example,
00:57:06prolonged hoarseness
00:57:07which obliges the producer
00:57:08to find a replacement.
00:57:10Yes, yes, yes.
00:57:11Alright.
00:57:14But it's so dangerous.
00:57:18We can't miss this opportunity.
00:57:21It can take a long time
00:57:22without another one like it appearing.
00:57:27Oh, look, another portrait.
00:57:29And where will we find that pest now?
00:57:31Don't you have their address?
00:57:32No no.
00:57:35We'll have to find it somehow.
00:57:38You'll see, now that we need it
00:57:39It does not appear.
00:57:40And yesterday I ran into him.
00:57:41even in the soup.
00:57:41In eastern Colombia.
00:57:44What were you saying?
00:57:46Hey?
00:57:53Good morning.
00:57:54Ah, good morning, sir.
00:57:55She has finally decided to stay.
00:57:57The room is ready.
00:57:58No no.
00:57:59I just wanted to talk
00:57:59with Miss Carmen Reyes.
00:58:01Very well, sir.
00:58:01No, she's not going to want to talk to me.
00:58:04But keep at it, keep at it.
00:58:06Keep at it, son.
00:58:06Okay, okay.
00:58:07With the room
00:58:07From Miss Reyes, please.
00:58:09Gonna?
00:58:10Good morning, miss.
00:58:12He's here, sir...
00:58:13Antonio Sánchez.
00:58:14Don Antonio Sánchez.
00:58:16Please bring it up soon.
00:58:19It's here.
00:58:20Great.
00:58:21Who?
00:58:21No problem, sir.
00:58:24You may go up.
00:58:25Well.
00:58:25Wait.
00:58:26Do you want to call her again?
00:58:27And tell him I'm the same as yesterday?
00:58:28Yes, yes, sir.
00:58:29Yeah.
00:58:30With Miss Reyes' room.
00:58:31Hello?
00:58:32Miss, please forgive me.
00:58:33This gentleman wants you to know
00:58:35which is the same as yesterday.
00:58:37Yes, yes.
00:58:38Wait a minute, he's going to put it on.
00:58:39Miss.
00:58:44What's happening?
00:58:44Why isn't it going up?
00:58:45Look, no, it's not me.
00:58:47I am the other one.
00:58:48The one with the umbrella.
00:58:49I told him to come up.
00:58:50What is nothing for?
00:58:51Let him go up, man, let him go up.
00:58:52I'm waiting for it.
00:58:54It's already going up.
00:58:55Great, another latte.
00:58:57He's so friendly on the phone.
00:58:58and then...
00:59:00You know where it is, right?
00:59:01Yes, yes.
00:59:07Say.
00:59:07Hey, tell me.
00:59:09Look.
00:59:10How many vases were in the room?
00:59:14One.
00:59:16Thank goodness.
00:59:18Thank you.
00:59:18You're welcome, sir.
00:59:22Who would have thought?
00:59:24I was impatiently waiting for that man.
00:59:27Already?
00:59:28Yeah.
00:59:34Oops!
00:59:35Oh, what a fright, madam!
00:59:36I was looking at a vase that's there.
00:59:37Come in, come in.
00:59:37Yeah.
00:59:38Please come in.
00:59:39Man.
00:59:39Down on the ground.
00:59:42Your father?
00:59:42No, I don't have a father.
00:59:45Take.
00:59:45Oh, another portrait.
00:59:47Happens.
00:59:48Sit down.
00:59:48Sit down.
00:59:49Get comfortable.
00:59:49Yeah.
00:59:50Okay, one, two, and three.
00:59:52Now, now.
00:59:54Well.
00:59:57Well.
00:59:58How do I know you?
00:59:59I'm not going to say anything to him, let's see if you...
01:00:03Why don't we focus on what's important?
01:00:04Well, that's it, that's it.
01:00:06We can see that you have also read the news.
01:00:08No, it wasn't my fault.
01:00:09You'll see.
01:00:10That's not what this is about now.
01:00:11The important thing is that it has exposed me.
01:00:14Yes, for me.
01:00:16And we still don't know if you're an idiot or an embarrassment.
01:00:20More like an idiot, yes.
01:00:23Come on, you're an idiot.
01:00:25I could swear he's telling the truth.
01:00:26That seems to be the case.
01:00:28Yes, go ahead.
01:00:29Do you want to get the young lady out of the predicament you've gotten her into in such a strident manner?
01:00:33I'm willing to do anything for that, you know?
01:00:35Well, it has to keep going through my boyfriend.
01:00:37Of course, going through their...
01:00:38Huh, what?
01:00:44Pass.
01:00:46To pass as her boyfriend, of course.
01:00:47It refers to...
01:00:47Just a few days, of course.
01:00:51Does that seem like a lot of sacrifice to you?
01:00:53That seems fine to me.
01:00:54Will he know how to do it?
01:00:55I think I would do quite well.
01:00:57Yeah.
01:00:59But go away, man, won't you?
01:01:00You who are...
01:01:02The bad part comes later.
01:01:03That?
01:01:04Okay, let's not waste any time.
01:01:05How are you doing in terms of clothes?
01:01:06Well, you, son.
01:01:08I've put it there, nice and clean.
01:01:09Did I just put it there?
01:01:11Well, no.
01:01:12I have a change of clothes in my suitcase.
01:01:13T-shirt and sock.
01:01:15Well yes.
01:01:15Some expenses will have to be incurred.
01:01:17I already realized that.
01:01:18Yes of course.
01:01:18But it would mean losing the contract.
01:01:20No, I don't mean you...
01:01:21And he will have to stay at the hotel.
01:01:23They call to ask that a room be reserved for them.
01:01:25And the press says he's staying here.
01:01:28It's true.
01:01:29Come with me.
01:01:30But look, now that I was there...
01:01:31Come on.
01:01:31Come on.
01:01:31Go with him, he's good-looking.
01:01:36Explain it to him properly, Miguel.
01:01:36Don't worry, Carmen.
01:01:37There's time until nightfall.
01:01:38Just a moment, just a moment.
01:01:40What happens at night?
01:01:42That he will have to attend a dinner.
01:01:43Ah, yes, very good.
01:01:44That's doing it.
01:01:45Eat.
01:01:46Well, if they ask him to sing there, he should pretend he's hoarse.
01:01:49Because?
01:01:51If I sing, son.
01:01:52What is she going to sing?
01:01:52Don't I sing?
01:01:53Yes, she's going to sing.
01:01:54You don't sing at all.
01:01:54But come on, let's go.
01:01:55Come on.
01:01:55I sing.
01:01:56The village cows have already escaped.
01:02:26Gentlemen, let's raise a glass to our two artists.
01:02:28Let's make a toast.
01:02:35Ladies and gentlemen, among us tonight is the popular film and song star Carmen Reyes.
01:02:42Believing we are interpreting a wish of our distinguished audience, we take the liberty of asking him to sing for you.
01:02:58Yes, yes, let him sing, let him sing.
01:02:59Let him sing, let him sing.
01:03:01Shut up, man!
01:03:02They are here, gentlemen.
01:03:03Dedicated to this lovely audience, I'm going to perform "I Met You One Night".
01:03:16I would like to dance to entwine myself in your arms, but I have come to sing to you.
01:03:46To tell you I love you, however far away you struggled, I will be closer to you.
01:03:59If you love me even a little, my life will be happy.
01:04:16I met you one night when the moon hides, when the flowers open and begin to live.
01:04:34And the light of your countenance was a diamond star, it was a diamond star that made me feel.
01:04:52You looked at me, I looked at you, what you did to me, I don't know.
01:05:11And the light of your countenance was a diamond star.
01:05:37It was a diamond star, it was a diamond star that made me feel.
01:05:45You looked at me, you looked at me, you looked at me, I looked at you, what you did to me, I don't know.
01:06:05And the light of your countenance was a diamond star that made me feel.
01:06:07And the light of your countenance was a diamond star that made me feel.
01:06:11Applause!
01:06:13Applause!
01:06:14Applause!
01:06:15Applause!
01:06:16Applause!
01:06:17Applause!
01:06:18Applause!
01:06:19Applause!
01:06:20Applause!
01:06:21Applause!
01:06:22Applause!
01:06:23Applause!
01:06:24Mr. Olmedo, can I reveal anything in the newspaper about this double contract for your film?
01:06:28Yes, man, yes, say it.
01:06:30Do you know that dressed like that you look like a different person?
01:06:33Do you think so?
01:06:42Ma'am, look!
01:06:45What, what?
01:06:46What do you need, man?
01:06:47Oh, yes, it's me.
01:06:48What's happening?
01:06:49How is the film industry doing in Colombia?
01:06:50Uh, color cinema, of course.
01:06:52Very good.
01:06:53Yes, well, yes.
01:06:54Has...
01:06:55Has...
01:06:56Has...
01:06:57It has something.
01:06:58Okay, okay.
01:06:59Good, good, good, good, good.
01:07:01Very good.
01:07:02Of course, it's not like the other kind of cinema, the dark kind.
01:07:05It's different.
01:07:06Hey, Bogotá is beautiful.
01:07:08Ah, yes.
01:07:09Beautiful, beautiful.
01:07:11Oh, how beautiful it is!
01:07:13I was in Bogotá, but many years ago.
01:07:16I think it's changed a lot.
01:07:17Yes, it changes every moment.
01:07:19I wouldn't know him now.
01:07:21No, nor me.
01:07:22But, man, he's back a bit since yesterday.
01:07:23Ah, yes, I'll refresh for a moment.
01:07:26I mean, I'm coming back, right?
01:07:29Yes of course.
01:07:30In the houses.
01:07:31Clear.
01:07:32They're fatter, that's it.
01:07:33Sure, sure.
01:07:34Where are you trying?
01:07:35On what street did you live?
01:07:36In Bogotá?
01:07:37Clear.
01:07:38Well yes.
01:07:39In Bogotá, man, Bogotá.
01:07:40In Bogotá.
01:07:41Well, I used to live in one.
01:07:42On Columbus Street, don't you remember?
01:07:43Colon.
01:07:44Colon.
01:07:45Colon.
01:07:46Good street.
01:07:47Yes, yes.
01:07:48Very good.
01:07:49Very good and very long.
01:07:50Well, it was wide, but very short.
01:07:53Well, I'm saying this looking from one sidewalk to the other.
01:07:55Clear.
01:07:56But now he's smart.
01:07:57They've lengthened it.
01:07:58They've lengthened it.
01:07:59And it has wonderful gardens with swings and soft drinks for a peseta.
01:08:03People are killing each other, you know.
01:08:08Man, a rumba.
01:08:10Here's your chance to shine.
01:08:12I'm going to refresh myself again.
01:08:16Man, you can't drown this guy.
01:08:17Everything gets out, my friend.
01:08:18I read in a newspaper that you were number one at dancing the rumba in Bogotá.
01:08:22I?
01:08:23Come on, Antonio.
01:08:24But I've never danced.
01:08:25I'm sure of it.
01:08:26But there was no other choice.
01:08:27You're going to do it to me.
01:08:28Do many things.
01:08:29Go ahead.
01:08:30Come on, let's go.
01:08:31Go ahead.
01:08:35I don't know if this one.
01:08:42Move your hips.
01:08:43The hip.
01:08:44Come on, come on, move it.
01:08:45Okay, okay.
01:08:46The hip, yes.
01:08:52Have you seen?
01:08:53Leave her alone.
01:08:57The kidneys can't take it.
01:09:01How are you, man?
01:09:02Let's give it a go.
01:09:03What is this?
01:09:04No, the other one is here.
01:09:05There it is.
01:09:08My wife was really looking out for me!
01:09:09Hold me back.
01:09:10There.
01:09:11No, it's on the ground.
01:09:12Yes, yes.
01:09:15I'm going to do it.
01:09:16I'm going to do something with my hand.
01:09:17Have you seen?
01:09:18With the hand.
01:09:19And now with the other one.
01:09:20I think so, uh?
01:09:21Look.
01:09:22Look.
01:09:24I'm going to kick this man.
01:09:27I'm going to do it.
01:09:33Ha!
01:09:34Ha!
01:09:35Ha!
01:09:36Uh!
01:09:37Ha!
01:09:38Ha!
01:09:39Ha!
01:09:40Ha!
01:09:41Ha!
01:09:42Ha!
01:09:43Ha!
01:09:44Ha ha ha!
01:09:47Ah!
01:09:53Great job, guys!
01:09:54Very good!
01:09:55Ah!
01:09:56Amazing seating!
01:09:57Careful, I don't want to...
01:09:58It's a shame this wasn't true
01:10:07Because?
01:10:08Well, because...
01:10:10A proposition
01:10:11Do you think it's appropriate to announce the presence of the singer from the screen in the room?
01:10:15And she could also sing a song or two.
01:10:16If I can
01:10:16No, no, no, no, yes, yes, yes, why not?
01:10:18He is aponic
01:10:19No, no, it doesn't sound like anything, we tried.
01:10:21Okay, try it, try it
01:10:22It can't, it doesn't sound right, does it?
01:10:27He can't, he can't
01:10:28He took a breath in the plane
01:10:29No, no, no, no, no, don't be strong, no
01:10:31We need to take care of it
01:10:32Tomorrow a close friend of mine who has a degree in otolaryngology and linguistics from Madrid will see it.
01:10:36What did you say?
01:10:37Of olorri...
01:10:38No, no, ri...
01:10:40Or, nor, nor, nor, nor, nor, nor, nor, no, no, it's not that
01:10:43I didn't throw...
01:10:44That's rude, excuse my language.
01:10:46Trigonometry
01:10:48Ah, well, I understand, Dr. Rezno
01:10:51And of course, that's why I became violent
01:10:53Of course, you have an explanation.
01:10:54ENT specialist in linguistics
01:10:55Ah, of course, that makes it different.
01:10:57Good morning
01:11:00Careful
01:11:08Who?
01:11:09It turns me on...
01:11:09Let me show it to you, let me...
01:11:10Sure, you sucking there, right?
01:11:12Now for the gargles
01:11:16Yes, yes, yes, now the gargles
01:11:16Okay, that's it.
01:11:17Until tomorrow, and may they bullfight me.
01:11:19Goodbye, doctor
01:11:19Let's see
01:11:22Gargling
01:11:23Come on
01:11:24Okay, we need to gargle.
01:11:25Come on, give it a try
01:11:27Margarita, margarita
01:11:28See how good it is
01:11:33Let's go
01:11:34Like that, like that
01:11:35She has to try on the dresses
01:11:36Just a little more, just a little more
01:11:36Come on, give my soul a little bit more
01:11:38Okay, daughter, okay
01:11:39Let's go, everything?
01:11:41Let's go now, Carmen
01:11:42What's going on here?
01:11:44Damn!
01:11:45Okay, let's go now
01:11:46But what is this?
01:11:47I'll come back here tonight to check on our sick man.
01:11:50Goodbye, sir
01:11:50Goodbye, gentlemen
01:11:51See you later
01:11:51I'll stay and take care of him, okay?
01:11:52What's it to me now, man?
01:12:02If they have left
01:12:02I do all this for her.
01:12:07That?
01:12:09I wouldn't do it for anyone else.
01:12:10Is he in love with Carmen?
01:12:13Yes sir
01:12:14I've loved her for a long time.
01:12:17Ever since I first heard his voice
01:12:19And I saw her first photograph
01:12:21And now that I know her in person
01:12:24I love her so much more
01:12:27I pity you, if you only knew
01:12:29Hey, that man
01:12:30Don't be an idiot.
01:12:31You have the nerve to give me pumpkins
01:12:33Martina
01:12:40Palmira!
01:12:43Oh, Martina!
01:12:44What a surprise!
01:12:45When did you arrive?
01:12:46This morning
01:12:47What a joy to see you again!
01:12:49Come in, come in, woman
01:12:51Come on, sit down
01:12:52And Liborio?
01:12:54Sleeping off the hangover
01:12:55As usual
01:12:56Can you imagine why I've come to Madrid?
01:12:57If you don't tell me
01:12:58To the new faces contest
01:13:00I want to see Antonio act
01:13:02Ah, yes
01:13:03Didn't he say anything to you?
01:13:05About what?
01:13:06From the sausage?
01:13:06No, woman
01:13:07About our own
01:13:09Oh yes, that's true.
01:13:10She told me that you were her teacher
01:13:12And his girlfriend
01:13:13Go on
01:13:14Do you know where it stops?
01:13:16No
01:13:16I'll spend the first night here.
01:13:18But I haven't seen him since.
01:13:19A bellboy arrived from a fancy hotel
01:13:21And he took his things.
01:13:22Well
01:13:23I'll see it later in the studios.
01:13:25Oh, Martina!
01:13:27That man has me talking to myself.
01:13:29But girl
01:13:30Hello
01:13:44Good morning
01:13:45I'm so intrigued by this quote
01:13:47And it's somewhat dangerous.
01:13:48Does Olmedo think you're in bed?
01:13:50I just needed to talk to her
01:13:51And since I never see her alone
01:13:52Okay, so what's it about?
01:13:55You'll see
01:13:55I am scheduled to sing this afternoon
01:13:57In the final of the competition
01:13:59New faces
01:14:00Ah, but you sing
01:14:01But I've told him that many times.
01:14:03The thing is, you weren't paying attention to me.
01:14:04Excuse me, Antonio
01:14:05I received a letter
01:14:09In which they tell me that I turned out to be one of the most photogenic
01:14:11And now they make me sing
01:14:14Will you allow me to go to the studios?
01:14:16How can I forbid it?
01:14:18Just in case...
01:14:19In case you think I might harm you
01:14:21I don't think anyone who knows me will be going these days.
01:14:24Also, I'll be wearing the suit I came from the village in.
01:14:26Asking me about it is a kind gesture that I greatly appreciate.
01:14:29You wouldn't believe the things that are happening to me in just a few days.
01:14:34Don't worry, Antonio
01:14:35I've spoken with Miguel
01:14:36And we're going to convince Almedo
01:14:38So that he hires someone else instead
01:14:40Then we'll fake a breakup
01:14:42And each one went his own way
01:14:43Me too
01:14:49I'm left without a girlfriend
01:14:52But what if what we do is a comedy?
01:14:53I know.
01:14:57But I had believed it
01:15:00What does it say?
01:15:03Yesterday I declared myself
01:15:04Whom?
01:15:05To Miguel
01:15:08What was declared to Miguel?
01:15:09Come on, I declared myself in that sense
01:15:12That I told you
01:15:12That I...
01:15:14That you told me
01:15:15Well, I was in love.
01:15:19But whose?
01:15:21From you
01:15:22Antonio
01:15:24Well, no
01:15:26Yes, I know I've done wrong.
01:15:27I should have kept quiet
01:15:29But
01:15:29It slipped out.
01:15:31You mean so much to me.
01:15:34When I think
01:15:35That someday
01:15:36I'll stop watching her
01:15:37I get a feeling
01:15:38I
01:15:42I would like
01:15:44Continue being her boyfriend
01:15:45Even if it was fake
01:15:47Even when we were left alone
01:15:49You will throw me away
01:15:49All the vases
01:15:50That I could find on hand
01:15:51AND...
01:15:52And the chairs
01:15:53And the paintings
01:15:54And maybe even the bed
01:15:57I knew it
01:16:02That he would laugh
01:16:03To you from me
01:16:03I deserve it for being stupid
01:16:06Forgive me, Carmen
01:16:08Antonio
01:16:08Wait
01:16:09Antonio
01:16:10Do you know something?
01:16:15But what about Antonio?
01:16:16I left it an hour ago.
01:16:17But where is it?
01:16:23She went to the new faces competition
01:16:24Are you interested in singing?
01:16:26You'll see
01:16:26Is he one of the contestants?
01:16:29No
01:16:29Yes, son, yes
01:16:30We must prevent
01:16:31Let him/her present himself/herself to the public
01:16:32But what could happen, Miguel?
01:16:33But you don't know
01:16:34Olmedo attends
01:16:34Many of those competitions
01:16:35To discover new values
01:16:37Oh, really?
01:16:38What if he finds out?
01:16:38That we have deceived him
01:16:39Goodbye, contract
01:16:40Well, it's too late to go now.
01:16:41Nothing, nothing
01:16:42We might still make it in time
01:16:43Hurry up
01:16:44I'll be waiting for you downstairs, okay?
01:16:45Hurry up
01:16:46Good
01:16:46Good
01:16:50You have finished
01:16:51You may sit down
01:16:52This side
01:16:58Who's going now?
01:17:00Antonio Sánchez
01:17:00Huh?
01:17:01There
01:17:02Antonio Sánchez!
01:17:05Come on, man
01:17:05What's that?
01:17:06You
01:17:06Now you'll see what's good
01:17:10There we have the one on the side of the railing
01:17:16Himself
01:17:17Well, you know that before singing
01:17:35He has to recite a poem
01:17:36But I don't know any.
01:17:38As?
01:17:40But I didn't know you had to write verses
01:17:43Man, each contestant
01:17:45He must demonstrate his acting skills.
01:17:48But I didn't know that.
01:17:52The contest was to find a new face
01:17:55To see if one was photogenic
01:17:57Or it wasn't
01:17:58But when they did the test on the ship's rail,
01:18:02That
01:18:02I already mentioned Margarita.
01:18:05You'll see, now I'll be left without the prize.
01:18:11And I need to win the contest.
01:18:21You don't know what it's like to be something big
01:18:24When you live in a village on a salary of 20 pesetas
01:18:28Waiting for a miracle
01:18:30I want to be something more than what I am
01:18:35I will never have another opportunity like this in my life
01:18:39Let me sing
01:18:43Don't kick me out of the contest for not knowing any verses
01:18:48If you'd like, I can recall some Easter hymns.
01:18:54Oh, and I also remember a fable
01:18:58Let's get started!
01:19:08Okay, okay
01:19:09Now for the singing test
01:19:11What is the number called?
01:19:16There it is
01:19:17The title is beautiful.
01:19:20It says very well what...
01:19:22His name is Niño Berrendo
01:19:25And who is the author?
01:19:27No, no, author
01:19:28Author
01:19:29She's the tobacconist in my town
01:19:30The one who commands silence
01:19:31The one who does this with her hands
01:19:33That's next to the old one
01:19:34Enough!
01:19:35At the piano
01:19:35Master, whenever you want
01:19:38Hey, not in that one
01:19:40In this
01:19:41In this
01:19:42How can there be two?
01:19:43In this
01:19:44I've never been here before.
01:19:45Okay, come on
01:19:46Whenever you want, master
01:19:48No, no, no
01:19:51I can't there
01:19:52It has to be six tones lower.
01:19:54Where the fat women are over there
01:19:55Hey?
01:19:57What's the difference?
01:19:58La, la, la, la, la, la, la, la
01:20:00Very good
01:20:01So, what's up?
01:20:01As white as a jasmine
01:20:18A girl fell in love
01:20:20Of a little black dancer
01:20:22Very soft and friendly
01:20:24Fresh laughter, tanned skin
01:20:27Pink tongue and lots of rhythm
01:20:29As she was in a bad state
01:20:31The very thing was overflowing
01:20:32Little Black Boy
01:20:36The little white girl
01:20:39The little white girl
01:20:40The little white girl
01:20:41And the black
01:20:42They're already married
01:20:43And a cute little boy
01:20:44God has sent him
01:20:45The little white girl
01:20:47The little white girl
01:20:48The little white girl
01:20:50And the black
01:20:51They are wanting each other
01:20:52Because of its fruit
01:20:53It came out pronghorn
01:20:54Two-tone
01:20:56Black and white
01:20:58Two-tone
01:21:00Black and white
01:21:02Not even pink
01:21:23Not even blue
01:21:23Not yellow
01:21:24Not really
01:21:25Less magenta
01:21:26What is a color?
01:21:27I repeat myself quite often.
01:21:28Not even blue
01:21:30Not even pink
01:21:32Neither magenta
01:21:33Not even stripes
01:21:34Like zebras
01:21:35Nor coats
01:21:36Like the paintings
01:21:37I mean, not even close.
01:21:38Not even a corner of the staircase
01:21:42Not even a belly of a snout
01:21:44Not even parlor ears
01:21:45But man, I have eyesight!
01:21:46He's also a sensational comedic actor.
01:21:48I already said it
01:21:50The verena!
01:22:07This, Antonio Sánchez
01:22:09Don't we talk?
01:22:10Antonio Sánchez
01:22:11Antonio Sánchez
01:22:12What do you want it to be called?
01:22:18One moment!
01:22:26This man cannot participate in a novice competition because he is a professional!
01:22:30What do you mean he's a professional?
01:22:31Why does he say that?
01:22:32A professional!
01:22:34Is that true, Mr. Sánchez?
01:22:36Yeah.
01:22:39It's true.
01:22:43Forgive me.
01:22:48Ladies and gentlemen, the incident that occurred forces us to suspend the competition.
01:23:04The winner turned out to be a professional.
01:23:07No! That's not true!
01:23:10I know that boy well and I can prove that he is not a professional.
01:23:12But he himself has confessed it.
01:23:14That's what I don't understand.
01:23:15Clear.
01:23:15There has to be a mystery here.
01:23:16They must not allow that boy to return to the failed town.
01:23:19It would be an injustice.
01:23:21Madam, this is not a rally.
01:23:22It's not a rally.
01:23:24It's a fix.
01:23:25He's absolutely right.
01:23:27Game!
01:23:27Ma'am, you are undoubtedly confusing him with someone else.
01:23:29How could I confuse him?
01:23:31Yes, I am the author of El Niño Berreño.
01:23:33As?
01:23:33And also, Antonio Sánchez's singing teacher.
01:23:36And his girlfriend.
01:23:38I also want to say something.
01:23:39Leave it to me.
01:23:40The one who just performed is the singer on screen.
01:23:42He's my boyfriend.
01:23:43He is this young lady's boyfriend.
01:23:44Exact!
01:23:45Lie!
01:23:45They want to set a trap for him.
01:23:47I repeat, he is my boyfriend.
01:23:49It's the same one.
01:23:50I mean, my client.
01:23:52Let's see if we can understand each other.
01:23:55Ladies and gentlemen, please vacate the room.
01:23:57The test is over.
01:23:58No way.
01:23:59What a thrill it is when the best part begins.
01:24:01Silence, please!
01:24:02Please be quiet!
01:24:03Be quiet!
01:24:04Shut up already!
01:24:04Let me speak for a moment.
01:24:07Where does that contestant live?
01:24:09I need to talk to him.
01:24:10Mr. Almedo, but you haven't seen if it's the singer from the screen.
01:24:13Ignore him, Mr. Almedo.
01:24:14Carmen.
01:24:14Carmen, Carmencita.
01:24:15Nothing.
01:24:16This needs an explanation.
01:24:17Come with me!
01:24:17Carmen.
01:24:18Would you please come with me?
01:24:19Carmencita, but...
01:24:20Carmen, don't let your mother leave.
01:24:24Come this way, Mr. Almedo.
01:24:25Silence!
01:24:26Applause!
01:24:27Applause!
01:24:28Applause!
01:24:29Applause!
01:24:30Applause!
01:24:31Applause!
01:24:32Applause!
01:24:33Applause!
01:24:34Applause!
01:24:35Applause!
01:24:36Applause!
01:24:37Applause!
01:24:38Applause!
01:24:39Applause!
01:24:40Applause!
01:24:41Applause!
01:24:42Applause!
01:24:43Applause!
01:24:44Applause!
01:24:45Applause!
01:25:09Applause!
01:25:11Are you seeing it, woman?
01:25:22What will you answer now?
01:25:25Yes.
01:25:26And let it be known that it's not because of the tobacco shop.
01:25:41Thank you!
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