- hace 4 meses
Las aventuras sexuales que pasan en las habitaciones de un hotel de lujo.
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CortometrajesTranscripción
00:00There! There! There! There, friends!
00:10They just caught us working.
00:12Well, but we were trying to teach them how to start making a videocassette
00:15We want to send them all home.
00:17This is the working group.
00:18Well, how can I explain it to you?
00:20This is done...
00:20I told you to put it on me, not to take it off.
00:23Oh, sorry. It's just that this is an ingredient used by funny people.
00:25Yes, between funny guys and pretty girls.
00:28Jokes.
00:29Oh, let's make sure they have some fun so that...
00:30I want to play.
00:31We're not playing around, girl. Get out of here.
00:33So, we want to show you how we're going to make a series of videos
00:35to make their stay in the house more pleasant,
00:38so that you can give yourselves to your liking.
00:40What do you want, girl?
00:40I want to play.
00:41We're not playing, girl. We're working.
00:43Don't you see everyone moving?
00:45I look like I'm wearing a uniform.
00:46This one, yes.
00:47Oh, leave her alone. Leave her alone. Look how beautiful she looks.
00:49Here they have to... They all came out in a line.
00:51They show off their underwear.
00:52I'm bringing my big underwear.
00:54Daughter of your ball.
00:55Look, get out.
00:56Get her out of here.
00:57Look, abused girls.
01:01Remember your parliament.
01:02It will not be forgotten.
01:02Okay, you.
01:03Yes, it does at night.
01:04But, my dear, what for?
01:06And that bra?
01:06Yes, but look.
01:08Silence.
01:08Why are you wasting that bra?
01:09Because.
01:11For God's sake, daughter. Silence.
01:12Just look at this superfluous expense.
01:14Why wear a bra, daughter?
01:15If you have nothing to fill it with,
01:17Buy yourself a couple of band-aids.
01:18It's the best thing you can do.
01:20Yes, that was the average.
01:21Yeah, let's wait for those wretches to return.
01:22So, how are you?
01:23Everything is great.
01:24Well, these are all the ingredients we're going to give them.
01:27Besides, they act, they recite.
01:28In other words, they are artists.
01:29I want to work.
01:31The girl doesn't work here.
01:32Yes, yes, I do work.
01:33Yes, I work.
01:34What can you do?
01:34I recite.
01:35Okay, recite.
01:36So, what can you do?
01:37This was a little flower, a little flower.
01:39That one day he said to the cloud, little cloud, big cloud.
01:41Cloud, little cloud, big cloud.
01:42Could you give me some water, please?
01:44And the little flower said no, no, no, no, no.
01:48Then he appeared.
01:49No, get the hell out of here.
01:50Get out, get out of here.
01:51Get out, now.
01:51Get out, now.
01:52Out.
01:53You'll see this and much more in this video.
01:56I hope everyone has fun.
01:57Oh, what a pleasure it is to be in your house.
02:00Hello everyone there.
02:04Okay, Mrs. Güellez.
02:07His room, number 18.
02:09I can't talk to you about the usual because I'm busy.
02:10But distinguished clients like yourself are always welcome.
02:14Very kind, ma'am.
02:16Those are customers.
02:22Good afternoon.
02:23Hello good.
02:24Hello good.
02:25Uh, I'd like a room, please.
02:27Do you have a reservation?
02:28No, I want a room.
02:29I want a room.
02:30No, no, but do you have a room reservation?
02:32Ah, so if she visits her.
02:33No, no, no, but I want a room.
02:35Well, it's only with a reservation.
02:37As?
02:38If not, I don't reserve.
02:39No, this is a luxury hotel.
02:40High quality.
02:41Oh, that's great.
02:42For very distinguished clients, right?
02:45I didn't come alone, you know?
02:46No, no, I know, but it's a very select, very special clientele.
02:50Uh-huh.
02:50It's a very expensive hotel.
02:52But can you rent me a room?
02:54Well, I don't know, I'd make an exception, but the hotel is very expensive.
03:00Luxury rooms.
03:01Very classy hotel.
03:03But how much does the room cost?
03:05Uh, room for one person only.
03:08Yes, just me.
03:09Well, look, 30,000 pesos a day.
03:14It doesn't matter, sir.
03:15Do you want it?
03:16I want her, yes sir.
03:17What does it matter, 30,000?
03:18Perfectly.
03:20Uh, what name do we give it this way?
03:22Eh, to be Mr. Sayas.
03:23Mr. Sayas.
03:25Mr. Sayas.
03:26Oh really?
03:27Yeah.
03:27Is that really her last name?
03:29Yes, why?
03:31Oh, what a terrible grandmother her parents were.
03:33How did they come up with that name?
03:35And what is your name?
03:37Solares, at your service.
03:38No, yours is awesome.
03:42Do you want the room with or without a bed?
03:46What? With a bed?
03:46Yes, yes, of course.
03:47Well, it doesn't cost 30,000 pesos.
03:49Yes, pure quarter.
03:50Ah, alone, empty, too.
03:51Ah, it's a luxury hotel, sir.
03:53Yes, yes, he just stood there like a fool.
03:55No, no, no, it depends on you, on what you have in your bag to pay.
03:59Oh no, I do have money to pay with, sir.
04:00Do you want it with a bed?
04:01With a bed, please.
04:02Perfectly.
04:02With a bed it costs 35 thousand bucks.
04:06She wants the bed with a mattress, right?
04:09How awful.
04:10Without a mattress of clothes, all five of us, sir.
04:11Well, that's why I'm telling you, I'm asking you.
04:13We don't surprise anyone here.
04:15With mattress.
04:15How much does the mattress cost?
04:17Five thousand pesos more.
04:18Five.
04:18Five thousand pesos.
04:18Forty.
04:19With pillows?
04:21A.
04:22A.
04:23A pillow, then, costs him 42,500.
04:26Blankets and quilts made of this thing.
04:28A.
04:28Also.
04:29Also one.
04:29Fifty thousand pesos.
04:32Do you want the room with a roof?
04:35How about with a roof?
04:36Yes, yes, because many people like to see the student shine, to bask in the sun, like that, that kind of thing.
04:40So we have roofed and unroofed.
04:41Oh, no, roof and type...
04:43With a roof.
04:44Ah, exactly.
04:45Sixty thousand pesos.
04:46Sixty thousand pesos.
04:47With a roof.
04:48Do you like the room with a window?
04:49No, not here.
04:50Peel.
04:51He doesn't want a window.
04:53I don't want to spend money.
04:53Exactly.
04:55Sixty thousand pesos.
04:56With food or without food?
04:57That?
04:58The bed?
04:58No, the room.
04:59Ah, the room.
04:59No, without food.
05:00Without food.
05:01If it's porridge, that is, the entity.
05:03Sixty thousand pesos a day.
05:05How many days will it be?
05:06No, well, half an hour.
05:07About half an hour?
05:08If it's not too difficult, I'll leave tomorrow.
05:10Then one day.
05:11Nothing else.
05:11Then we're going to charge you 20% more.
05:13Because when it's for more days, we give it that price.
05:16Right.
05:16When it's a single day, we increase it by 20%.
05:18So that's two times six, twelve, seventy-two thousand pesos.
05:21Hey, it's a good thing you don't sell things like that for the home.
05:24Just like the dance, if far away, like Mrs. Mezco.
05:26It's not selling now.
05:27No not at all.
05:28What is done?
05:28I'm going to buy him a toilet.
05:30Am I going to charge for it with all the poop and everything, or what?
05:32It's a luxury hotel, sir.
05:33Yeah.
05:34Top-notch.
05:34Yes, yes, yes.
05:35For distinguished clients.
05:36Anyway, he's going to leave here.
05:37They are not haggling over the price of what they are going to pay.
05:39How much was it for everything?
05:40Seventy-two thousand pesos.
05:41Are you going to pay in cash or with credit cards?
05:43No, it's going to cost a lot of worry.
05:45He's making about fifty-two thousand pesos.
05:47Seventy-two thousand pesos.
05:48Seventy.
05:48Well, I won't sleep because of the worry.
05:50Well, he's going to pay in cash.
05:52Cash, cash.
05:53Then I would advise you to pay by credit card.
05:55Because?
05:55Because you need the cash.
05:57With a credit card, you have one month to pay.
05:59an expense of their money.
06:00That's true, isn't it?
06:01That's all there is to it, right?
06:02Yes, that's right, yes.
06:03So, credit card.
06:04Yes, with a card.
06:05Then we're going to charge you an extra 25% for the credit card.
06:08Perfectly, 25%.
06:09That's 114,000 pesos for one day.
06:11Oh, how cool.
06:12Perfectly, Mr. Sayas.
06:15Yes, perfectly.
06:16Yes, wonderful.
06:17Here is your key.
06:19In corridor number 2, room 24.
06:21My luggage?
06:22Oh, bring luggage.
06:23Let me see.
06:25Is that suitcase yours?
06:26Yes, yes.
06:27And what's inside?
06:28Inside?
06:28Yeah.
06:29No, well I don't know.
06:29How can we not check if it's her suitcase?
06:31No, yes, but they just told us at the airport,
06:33Be careful, pack your bags carefully.
06:35Oh, really?
06:35I got smart and brought this one home.
06:38Perfect, that's what his room is for.
06:39Which way is it?
06:40This way, through this corridor.
06:40Room 24.
06:4224.
06:43Yes, very kind.
06:43Thank you.
06:45Distinguished clients.
06:47Each type is received every day.
06:50Yes, sir.
06:51Sir, I'm sorry, I'm bothered.
06:53Tell me.
06:53The thing is, there's no water in my room.
06:56Forgive me, Lord.
06:57Nobody believes me about that.
06:58Oh, why not?
06:58No, there's never a shortage of water at this hotel.
07:00We have our own special 80,000 liter cistern
07:03so that the water service is never lacking.
07:04Okay, but there's no water, sir.
07:06Don't tell me that, please.
07:07What do you mean there's no water?
07:08There is no water.
07:08Open any of the taps and you will see the water flow.
07:11Ah, yes, I'll be there, I'll get the key.
07:12How to take the key?
07:13If what you want is a jug of water to drink.
07:15Ah, there's no water in the water bottle.
07:16I don't have a key, I don't want a luxury hotel.
07:18Well, sorry, I'll take care of them.
07:19And sign me up, two liters of water.
07:21No straw, I don't want to spend any more money.
07:27Please send a bottle of water to room 24.
07:31Send him 15 liters.
07:34Yes, Mr. Solario.
07:35Sun, Sun, Sun, Sun, Sun, Sun.
07:36Sun, Sun, Sun.
07:37Mr. Solario, look, there's just one problem.
07:38What happens now?
07:39I'm going to sleep, I turned off the light and boy,
07:41a hole there in the wall.
07:43And what does the hole in the wall have to do with it?
07:44No, but the problem isn't so much the light.
07:46No, well yes, it doesn't bother me, of course.
07:47What you see, I went to take a look.
07:49AND?
07:49Well, that's just messing around.
07:50On the other side there is a couple, newlyweds.
07:53Ah, yes, yes.
07:53And you get a little dimple.
07:54They're in a honeymoon phase, aren't they?
07:55Yeah man, I didn't even bother cleaning that little hole anymore.
07:57Why a little hole?
07:58That's fine.
07:58You're right, forgive me for firing you.
08:00Don't worry.
08:01At this moment, I order that the hole be covered.
08:03No, no, no, no.
08:04Make it bigger so I can see the guest of honor.
08:06Bigger, sir.
08:09Oh, distinguished clients.
08:12Mr. Solares, Mr. Solares, forgive me, Mr. Solares.
08:15Now, what happens?
08:16Look, I need to get up early.
08:19Does it have a wake-up call service?
08:20Yes sir.
08:21Would you be so kind as to wake me up when I need to go to the bathroom?
08:24No, no, no, just a moment.
08:25Forgive me.
08:25That?
08:26We have a wake-up call service at a set time.
08:29A schedule, yes.
08:29But how am I supposed to know what time you need to go to the bathroom?
08:32It's very easy, sir.
08:33How do you know when it's going to rain?
08:36Well, by the thunder.
08:39As soon as you hear the thunder, please call me.
08:42Oh my God, distinguished clients.
08:46Good afternoon.
08:47Good afternoon.
08:48Good afternoon, welcome.
08:50Look, we are the Calderón Cantú sisters and we have made a reservation.
08:53Okay, just give me a moment, please, let me check.
08:59Calderón Cantú, he's perfectly fine here.
09:02It's two o'clock, right?
09:03Yes, both.
09:04Weekend, it's lost.
09:05Perfect, let me see which rooms I'm going to give.
09:08Would a Junior Suite be suitable for your comfort?
09:10Yes, perfect, sir.
09:11Very good, I'm very happy about that.
09:14Exactly.
09:15Have you come here to the hotel again?
09:16Yes, yes, yes.
09:17Right?
09:18It's just that I haven't had the chance to take care of them myself, but what an honor to have them here, huh?
09:22Thank you.
09:23Perfect.
09:24Do you want a ground floor suite?
09:27Yes please.
09:28Perfectly.
09:28Good afternoon, good afternoon.
09:30Good afternoon.
09:31Good afternoon.
09:33Perfect.
09:33That's all, miss.
09:34No deposit is required.
09:36The agency is responsible for you.
09:38Very kind, thank you.
09:41Oh, sir, I almost forgot one little detail.
09:43Yes, tell me.
09:44Well, look, I wanted to ask you a favor.
09:46Whatever you like.
09:46She, as I told you before, is my sister.
09:48Yeah.
09:48And she suffers from an illness.
09:50Well, you can't tell, huh?
09:52No, it's really good, right?
09:54No, no, look, she's a sleepwalker, miss.
09:57Sleepwalker?
09:58Yeah.
09:59Notice that she gets up at night while still asleep.
10:02But now he is under medical treatment.
10:04Ah, what a kingdom.
10:04Then, Ana, accustomed to following the sound of a little bell, which I will leave for her.
10:09Oh, really?
10:09So that you, as soon as you see her come out.
10:11Because, you know?
10:12I'm a very heavy sleeper and sometimes I don't hear her.
10:15That is.
10:16So, when you see her get up, ring the bell and follow her and lead her to the room, please.
10:21Ah, let's see, let's see if I understood.
10:22If I see her sleepwalking through the hallways, all I have to do is ring the bell and she automatically follows it.
10:28Exactly.
10:29And I lead her to her room.
10:30That's how it is.
10:31Don't worry, we're at your service.
10:33Here's the bell.
10:34Ah, it's the bell.
10:35Perfectly.
10:37Sleep peacefully, everything will be under control.
10:41Well, what's more, I'm going to do something even better for you.
10:43Yeah.
10:43I'm going to give them one of the rooms upstairs, so they can keep an eye on any contingencies they might have.
10:49Does that sound good to you?
10:49Very well, sir.
10:50Very good.
10:51It's the SWIR 218.
10:53Please come this way.
10:55Thank you, thank you.
10:56At your service.
10:58This way, with complete confidence.
11:00If you walk to the left, there is the SWIR.
11:03Thank you, thank you.
11:04May they rest.
11:05Oh, poor thing.
11:12Gentlemen, please forgive me, but the hotel rules state that no one can remain in the lobby after these hours.
11:19I beg you to go to your rooms.
11:22This is a luxury hotel.
11:23Yeah.
11:24Top-notch.
11:25Pass it on.
11:25Thank you, with your permission.
11:27Good night.
11:27Good night.
11:29Good night.
11:30Good night.
11:32Bye bye.
11:32Bye bye.
11:33Bye bye.
11:35Distinguished clients.
11:39Well, then.
11:40Ready.
11:41Time passes.
11:53Time passes.
11:56Lord, the time is here.
12:01Time passes.
12:03The sleepwalker.
12:18I'm going to take her to her room.
12:20What's happening?
12:20What's happening?
12:20What's happening?
12:20Mine is better.
12:36What's happening?
12:37Time passes.
12:54What's happening?
12:57Subscribe to the channel!
13:27Yajua! My love, finally alone. Now I'm talking. Oh, you little trickster. But more than barbaric, you're so stupid. And now, you country bumpkin, a teacher's got you. My love, do you know what I like most about weddings?
13:49What, my love? Honeymoons! I've already had 14, thanks to the Lord's dear. Oh, mamacita, just wait a minute. Look at this mess.
14:01Holy cow. Let me change the channel. You know how I am.
14:11What happened? What was that? Who barked?
14:17Oh, I forgot to tell you that I brought my dog with me.
14:21My life, but like a little dog on her honeymoon.
14:23Well, it's because I love her very much.
14:25Okay, don't be so dramatic and be quiet. And that's one more time, huh?
14:37Not again, man. Don't be so dramatic and just keep quiet. That makes two.
14:42Oh, oh, oh. Now I'm like Querétaro, the spinning tops. Let's go, lying down.
14:58He shouldn't be scandalous and should keep quiet. And that makes three.
15:05What did you do? Did you kill my dog?
15:10Oh, my love, calm down, man. Don't be so dramatic.
15:13Oh, how can I not be outraged? I told you I loved her very much because you killed her, because you had to kill her.
15:18She shouldn't be scandalous and should keep quiet.
15:21And there's one.
15:28Friends, let's continue with the program, which I hope you are enjoying.
15:32It's a mix of comedy, beautiful women, and sex.
15:36So, sex, well, sex, we all know, sex dominates the world.
15:40The world revolves around sex.
15:43And he who does not live off sex, well, he is not of this world.
15:46And now we are going to give you some examples, which are a fervent example of what sex does to human beings.
15:54These examples are staged by actors, who have had to concentrate on their roles in order to perform and produce them so that people can see them.
16:04We are going to present these examples to you so that you are aware that sex is dominating human beings.
16:16Human beings are driven by sex, and it shouldn't be that way.
16:19Sex should be used, yes, it entertains, it amuses.
16:23But it is not predominant.
16:25What is needed is to take into account these examples we give ourselves so that we become aware.
16:34Sex does exist, it's there.
16:38So what? So what?
16:40That's why we're going to be dominated by sex.
16:44No, gentlemen, no.
16:46Come on, let's defend ourselves.
16:48Let's try not to let sex control us.
16:53We're going to give you the example of Nestor Zunich.
16:56One moment.
16:57You guys watch them, I'm going to let this old woman fall.
16:59Okay, put on your coat because I don't want you to get cold.
17:08Oh, my queen, but not like that, my little girl.
17:10You can see how many thieves there are on the street.
17:13That's how they snatch it from me, they pull it away and I have to buy another one.
17:15You have to spend money, right?
17:16Put your little hands in, put your little hands in, come on.
17:19So, do I have a little hand or not?
17:21Okay, put your little hand here in the little hole.
17:23Yes, yes, yes.
17:24Okay, okay, put your other hand here, put it here in the other little hole.
17:28Oh yes, yes, I don't want her to get sick because medicines are very expensive.
17:34You see how you're already learning to save, that's great.
17:37And now you're starting to understand me, aren't you, my queen?
17:40Do you remember how much your treatment cost me?
17:43Yes, my queen.
17:44And maybe the thief, doctor, is from over there at the Sonora Market.
17:47How many did he throw at me through the lemon jewelry box?
17:49Remember how many he was there, huh?
17:50Yes, my love, it cost you dearly.
17:52Very expensive, and we need to save money.
17:54Because remember, saving is the foundation of happiness.
17:57And it will be the legacy of our children.
18:00But what if we don't have children?
18:03But what if we actually get them?
18:05Right?
18:06Look, do me a favor, my little girl.
18:08I'm going out now, sit here on the bed.
18:11And until I return, you're going to sit down because I don't want you walking up and down.
18:16I can't walk.
18:18We need to save money.
18:19Can't you see you're walking?
18:21You'll finish the carpet.
18:22We need to buy another one.
18:23Your shoes are worn out, you have to buy another pair.
18:25But which shoes?
18:26And just look at how they are now.
18:28Hey, look, by the way, if we put the heel on the toe, it's a different model.
18:33What do you think?
18:35Hey?
18:35Come on, my little girl.
18:36Don't get angry.
18:37If you behave, when I get back I'll take you to eat snow.
18:40What do you think?
18:41Hey, and don't move around too much because you're going to ruin the dress and I'll have to buy you another one.
18:47Other?
18:47But this is the only one I have.
18:51How many bodies do you have?
18:54One.
18:54So, what do you want it for?
18:56Where do you put it?
18:56Where?
18:57Where?
18:57Just tell me.
18:58So I'm not going to the market to buy food.
19:01No, my little girl.
19:02God forbid.
19:02With so many low prices on the market right now.
19:05So that they can insult you, so that they can say horrible things to you.
19:08You are so candid, you are so innocent, my little girl, that you don't understand, my queen.
19:13No, you're not going, you're not going.
19:14Look, now that I'm coming back from the street, I'll stop by the supermarket here.
19:19The one standing here next to me, my little girl.
19:21There's a super kitchen there too.
19:23And I'm going to bring a family stew, look.
19:26A family stew?
19:28Yeah.
19:28What's that?
19:30The one left over from yesterday's families.
19:32All the cigarette butts.
19:34But I don't smoke.
19:36Neither do I, but we learn.
19:38And for free, my little girl.
19:39What do you think?
19:40No, don't cry, don't cry.
19:42I'm leaving now, I'm leaving now.
19:44Yes my love.
19:46I'm going now?
19:47Yes my love.
19:48I'm going now.
19:50Yes my love.
19:51Just like that?
19:52What do we care?
19:52Where am I going?
19:53Yes, where is my king going?
19:55I'll go wherever I want.
19:57I don't have to give you an explanation, okay.
19:58Only straw is better.
20:00I don't have to come anymore.
20:01That's how it is where I'm going.
20:02Oh, you damned old man, you miserable, stingy bastard.
20:09He's grabbed even by the body.
20:11That's why he stayed short.
20:13Oh, if only I didn't have so much money.
20:16And besides, I am the sole heir to his money.
20:20I would have told him to go to hell.
20:24Oh, if only it weren't for my love.
20:29My life.
20:31Oh, my life.
20:34Oh, my life.
20:35Oh, my life, my love.
20:39Look, my love.
20:41My life.
20:42Oh, what's it like?
20:43You have no idea how impatiently I waited for your short husband to leave.
20:47He thought that because he locked the door, I couldn't get in.
20:50That's why I'm bringing the sixth keys, my love.
20:52But let me see you.
20:53I've missed you so much.
20:55I long to be with you, my love.
20:57Now it's really happening.
20:59Let's make the most of the time he gave us.
21:01Did you miss me?
21:03Oh no, I enjoyed myself.
21:04Oh, wake up.
21:05What do you gain?
21:06Oh, my love.
21:07Wait a little while.
21:07Oh, don't wake me up.
21:08Wait a little bit, little one.
21:10Oh, yes, go ahead.
21:12Everything, everything, everything, everything.
21:13Let's make the most of our time because we don't have much time left.
21:16Oh yes, right now, my love.
21:19My love.
21:20Rosita, jump.
21:22Wait.
21:23Wait until I take it off, my love.
21:24I, I, you know I'm an expert at these things.
21:28Enchant me, love.
21:29My love, let me see you.
21:31Tiny.
21:32Come here.
21:34Yes, lie down.
21:36Now then, my love.
21:52My mom.
21:53My mom.
21:54Your mom?
21:54My mom, mom, mom.
21:55Maria, my mom.
21:56Oh, your mom!
21:57Where is?
21:58It's there in the turrida that speaks.
22:00Hide, hide.
22:01Hide down here.
22:02No, not me.
22:03Where?
22:03Where?
22:04Here, here behind the legs, here.
22:06No, no, no.
22:08On the wall, on the wall.
22:09Come on, wait.
22:10At the club.
22:11Tiny.
22:23Why was it locked from the inside?
22:25Because I was alone and I was very scared.
22:27Ah.
22:30Hey, why are you dressed like that?
22:31Well, because you told me we had to save, and since we have to save, I quit.
22:35the dress so as not to wear it out.
22:36I like that.
22:38Listen to my advice.
22:39Why are you nervous?
22:41Nervous?
22:42No.
22:43Yes, of course!
22:43Why did you come back so soon?
22:45Because I remembered that they made the super kitchen as a deception today and I said, we're going to stay
22:49even without cigarettes.
22:50What do you think?
22:51I have some great gossip for you.
22:53What is it about?
22:53Tell me, tell me, what's it about?
22:54My godmother called me on the phone.
22:57She wanted to come for lunch, but you see, I'm more of a show-off than she is.
22:59No, man, worse than that.
23:01That?
23:02She has a lover.
23:03Hey, damned old coscolina.
23:05And he takes it to his house, to his bedroom, and to his bed.
23:10At my friend's house?
23:12He takes it to my friend's house.
23:14Ah, me and...
23:14And what do you think is the worst part?
23:16Okay, tell me, tell me.
23:17They were in the midst of a romance when...
23:20Who?
23:21My friend.
23:22Oh, that and not having killed the guy, he did kill him, he killed him, didn't he?
23:25No, man, my godmother is really smart.
23:28Come on, tell me everything, tell me everything, old lady.
23:30What do you think he did?
23:31No, yes, no, yes, no.
23:33So she hid her lover in the closet.
23:35From the house?
23:36Oh, my friend didn't notice.
23:38And what do you think?
23:40Look, he took a chair like this one.
23:42Oh, a chair like that, yes.
23:43And he sat his friend down.
23:45Ah, I feel like myself, I feel like myself.
23:46Yes, sit down, sit down, I have to say everything verbatim.
23:49Yes, tell me everything, but really, really, really well.
23:51Where's your handkerchief, my love?
23:52Here it is, my love.
23:53Don't forget anything, okay?
23:55I don't forget anything.
23:56So he took the handkerchief and put it on my friend's head.
24:00And he began to say...
24:01Yeah.
24:02Fly, little bird, fly!
24:05Fly, little bird, fly!
24:07And the bird didn't fly?
24:08Come out of the closet, little bird!
24:11Come out of the closet!
24:12And my friend didn't notice?
24:13He didn't realize it, do you think?
24:15Yes, barbaric.
24:15But then the idiot lover came out in his underwear.
24:19You don't say.
24:20Yeah, man, yeah, what idiot are you going to come out of here in your underwear?
24:21Go out on the street and you won't find it here, well, yes.
24:23So she goes back to the closet to change.
24:26How silly, how silly, how silly!
24:28Yes, yes, tell me.
24:29And I kept saying to my godmother,
24:31Fly, little bird, fly!
24:32Fly, little bird, fly!
24:33Fly, little bird, fly!
24:35Go on, bird, fly, man!
24:37Well, what do you think?
24:37Fly, my bird!
24:38That it changed and that it's coming out.
24:41And so the little bird goes.
24:42Hey?
24:43Hey, hey, it sounds like the little bird whistled.
24:46This guy is so brazen, don't you think?
24:49Yeah.
24:49He even kissed his godmother, he kissed her.
24:52Look, in front of your friend.
24:54At my buddy's bars.
24:55Yes, look.
24:56Oh, you think so!
24:57Yes, well, he's leaving.
24:58The little bird flew away.
25:00Poor friend of mine.
25:01He really left.
25:03Poor friend of mine.
25:04Of course, my friend didn't notice because he had his eyes covered.
25:07No!
25:08My buddy didn't notice because he's a fool.
25:11Let them do it to me.
25:13Let them do it to me.
25:15Friends, let's try to take a break, a little rest so you can stop laughing.
25:22Well, I hope you're laughing.
25:24So that the colleagues can prepare.
25:26The girls change.
25:29My uncle Borolas, let's see if they grow up for a while.
25:31I don't think so, but we're going to do our best to fix the bald guy and give him a little more hair because he looks very shiny when he's bald.
25:37And to tell you why we are doing this program that we bring to your homes.
25:43It's because the producers of my films thought it was an additional service we could offer you.
25:48Exclusively from our humor, our work style.
25:52Because you know that in film is where my real passion lies.
25:57I'm a film person and unfortunately I always get called to play somewhat strange roles.
26:02Although, you've already seen movies like this...
26:05Have you seen them yet?
26:06So they already know me in Cuagado, right?
26:07There are no more jumps.
26:09Yes, it feels good.
26:10Well, no, I don't feel bad about showing my butt like that...
26:12I say this because I have a small butt, I mean, I'm really shameless, right?
26:16Because according to Nacha, it's shameful.
26:18No, if I charged for my ass I'd starve to death.
26:21Can you imagine how much Lin May charges for those things?
26:24Well, at that time of day it's kind of sad, isn't it?
26:25Yes, because sometimes one feels self-conscious.
26:27But then I was chosen for other roles, I've done roles like...
26:30What a little faggot...
26:32Really, yes, yes, yes, I've done them.
26:34Well, well, it's just that everyone thinks that because I do it, they also think that I'm slacking off, and I honestly don't.
26:38No, no, really no.
26:40Well, they used to, but not anymore.
26:42No, don't believe it, no, no.
26:44No, the thing is, it's necessary, isn't it?
26:45So in terms of everyday life, there are some who do it and some who practice it.
26:50So they called me to do those papers and I do them very well, but no, no.
26:54Because the other day that's a bit of a mess.
26:55When you play your part well, the other day they were waiting for me outside Blanquita.
26:58Three buddies, you know?
27:00The good thing is that I escaped from two.
27:02The other one I have there is operating a camera.
27:05No no.
27:06No, what happened is that yes, really.
27:07And there are people who are, you know, hasn't it ever happened to you that they stop seeing a friend for a while?
27:10And when he returns, he's already chewing pistachios with his elbow.
27:14No, it hasn't happened to you, has it?
27:15No, in fact, he can be sitting next to you.
27:17No, well, not here, I mean, at the movies.
27:19No, not at his house.
27:20And then everyone started to show it, this guy was gay.
27:23No, no, no, don't doubt it.
27:24It's obvious.
27:25And there are people who don't look it at all, you know.
27:27There are some who are, but don't seem to be.
27:29And there are some that seem to be something they're not.
27:31Yes, I just ran into a friend while I was recording this show.
27:33There was a guy standing there like that, one of those from around here.
27:34And I said to her, goodbye crazy, your grandma's crazy, dude.
27:41Wasn't he mistaken?
27:42No, well, that's how it is in everything, in everything.
27:44The other day we went to an artists' party.
27:46Many artists had been involved in all the gay clubs in the scene.
27:49Luis de Alba was there too.
27:51Yes, Luis de Alba.
27:52Oh, because they didn't know?
27:54Crazy.
27:55Phew.
27:56If he's not fat, he's pregnant.
27:58And they say she got pregnant when she was the mouse.
28:03One of the mice he had kept in his house.
28:04Well, the thing is, we went to that party.
28:06There was a friend there.
28:06And suddenly, amidst all the gay guys, a big dude appears,
28:09I was amazed by those northerners.
28:10The guy is very serious.
28:12And he stops and starts watching the party.
28:14Let's see how things were going.
28:16And, well, just like that, everyone started to go on strike.
28:18No, because the man didn't care about anyone.
28:19Very seriously, he continued.
28:21Stay calm, don't move.
28:27We are sprouting an old one.
28:28The old woman has passed away.
28:28That's because they land here on the way back.
28:30The guy wouldn't pay attention until some crazy girl got up the nerve.
28:32Ah, that crazy girl came in and twirled around like a little butterfly.
28:36Oh, and the guy didn't even notice him.
28:37Until the crazy woman finally got excited.
28:38He tells her, you hear.
28:41Well, I'm clarifying that this is when I'm already acting like, you know.
28:45It's said, I can't imagine it coming naturally to me.
28:47You hear.
28:47And the big guy didn't even notice him.
28:49Oh, you hear.
28:50And the big one.
28:52Oh, listen, damn it.
28:53And the guy turns around.
28:54That?
28:55That?
28:56No, well, that's the little cotito to disguise it.
28:57And he says, "Hey, can I have your time?"
29:00And the big guy says, yes, but you give it to me tomorrow.
29:06Oh, I wish my husband would arrive soon.
29:08We're so eccentric when it comes to making love.
29:11Oh, let's see what surprise he has in store for me tonight.
29:14Me, me, me, me.
29:16My love, you've arrived.
29:17I'm here, my love.
29:19My love.
29:19My life.
29:20What a surprise this evening has in store for me.
29:22How are we going to do it?
29:23You'll see, you'll see.
29:25You see something new in me.
29:26Oh, but let me have your message on read, my love.
29:28Mom, wait for me, I'm getting undressed.
29:30Remember, get ready, my love.
29:31You need to be quoted.
29:33Oh, my love.
29:34No, no, not yet.
29:35Not yet, not yet, wait.
29:35Don't enjoy yourself too soon, wait for me, my love, just a little while.
29:38Wait, don't move, my love.
29:40Hurry up.
29:40Jorate, I'm just taking off my clothes, my love.
29:42Okay, my love, I'm just taking off my shoes.
29:44Oh, oh, oh, mamacita.
29:47Oh, mamacita.
29:48Oh, mamacita, mamacita.
29:50Oh, mamacita.
29:52Selfish.
29:53That way, you just enjoy yourself.
29:57Ladies and gentlemen, I would like to ask you to allow me
29:59To talk to them, I mean, it's something that's very important
30:01for human beings.
30:03Things we have been losing
30:04because of ourselves.
30:06One of the most important things is trust.
30:09Trust has been completely lost
30:10in all areas, in all parts,
30:12in all genres, in all environments.
30:16What better way to tell you than with an example?
30:18I have a friend of mine who owns a ranch.
30:20He hadn't been to his ranch for about two or three months.
30:21He sent his servant to watch over the ranch
30:23Let's see what new things he knew.
30:24He returned a week later and met with the boss.
30:26He says to her, "What new things did you find?"
30:28None, boss.
30:29Really none?
30:30No no.
30:31Oh really?
30:32Well, unless his parakeet thing is something new.
30:34He left his own parakeet, the little pet he had.
30:36What happened?
30:37Your parrot died, boss.
30:38But other than that, there's nothing new.
30:40Hey, what did my parakeet die of?
30:41He was very healthy.
30:42Well, they say it's because he ate horse meat.
30:44Oh, but who would think of feeding horse meat to a parakeet?
30:47No, nobody gave it to him, sir.
30:48The horse was dead at the entrance of the house.
30:51The parrot saw it, ate meat, and died.
30:52How could there be a dead horse at the entrance to the house?
30:54Which horse?
30:55His, the Percheron, the big one.
30:57My fine horse, yes, boss.
30:59Did he die?
31:00Yes, boss, but other than that, nothing new.
31:02Okay, so what did he die of?
31:03Well, they say it's from tiredness.
31:04From carrying so much water.
31:06How to carry water with a fine horse?
31:07Why did they make him carry water?
31:09We had to put out the fire, boss.
31:10Then they grabbed the horse.
31:12Fire?
31:13Which fire?
31:14Well, the one about the granary that burned down, but other than that there's nothing new.
31:17What do you mean the granary burned down?
31:18Why did it burn?
31:19Well, the fire from the big house spread all the way to the granary.
31:21And then both things burned down.
31:23But did the big house burn down?
31:24Because?
31:25Well, it burned down, boss, but other than that, nothing new.
31:27But how did the big house burn down?
31:29Well, it's because some candles went out on some curtains.
31:31Then the fire started and everything caught fire.
31:33But how do you see them?
31:34Yes, I have electricity.
31:35Well, there are candles at every wake, boss.
31:37The candles were there.
31:38Wake?
31:39What wake are you talking about?
31:40From your mother, boss, who died?
31:41But other than that, there's nothing new.
31:43What do you mean my mom died?
31:44So what did he die of?
31:45Well, they say it was from the fright, boss.
31:47But how could the fright?
31:47Who scared her?
31:48Well, when they went to tell him that his sisters had drowned in the river
31:51And then she got a fright and died.
31:52But other than that, there's nothing new.
31:53But how could my sisters drown in the river?
31:55Because?
31:56Because they came to the city to tell you that you have cancer.
31:58and he dies the day after tomorrow, but other than that there's nothing new.
32:00But how am I going to die?
32:01Oh, boss, all that fuss over a lousy parrot.
32:03If it was seen, I won't say anything.
32:05That's where people's distrust comes from.
32:07They don't trust.
32:09Yes, miss, I know you're busy, but this is the fourth time I've called.
32:13Has the doctor been operating for four hours, please?
32:16Is this a very important case or what?
32:19Please understand, miss.
32:20Alfredo, please hurry up.
32:22Wait a little while.
32:24No, no, not you, miss.
32:24I'm talking to someone else here.
32:26Look, all I want is for you to tell him that I've called him several times,
32:29I urgently need to speak with him as soon as he's free.
32:32It's a long distance, miss.
32:33Alfredo, please.
32:35Stop washing up!
32:36No, no, no, no, not you, miss, it's someone else.
32:40Please, I beg you, very kindly, thank you.
32:43Hey, what trouble are you causing, man?
32:45Oh, Alfredo, my sister can't go on like this anymore, man, she just can't.
32:49And you think I don't know that?
32:50Well yes.
32:50I'm quite worried.
32:51Yeah.
32:52You know that his illness has taken him to the best sanatoriums in the world
32:55to Spain, to France, to Switzerland, to Germany, Toluca, Xochimilco, Tlatelolco.
33:01They haven't gotten it right now, that's not my problem, understand?
33:03I've spent thousands and millions of dollars.
33:05That's what surprises me, that having so much money you haven't done anything, Alfredo.
33:09What can I do?
33:10No more payments, I'm not a doctor, they haven't found a cure for his illness.
33:14Please understand, I've already neglected my business, I no longer go to the factories,
33:18I don't even play with anyone anymore, my hobbies, I don't even play with my little fifty girl that I used to love so much
33:22I used to play with her.
33:23Oh, Alfredo, she's a bitch, man.
33:24Well, she's a bitch, but she has feelings too.
33:26But.
33:27Do you think I haven't taken him to the best doctors?
33:29To the bitch?
33:30No, no, your sister.
33:30Ah, yes.
33:31Medical boards and all that stuff don't understand him, they can't figure him out.
33:34Now they don't even want to bathe with me.
33:36My sister?
33:37No, the bitch.
33:38Aguete, who will bathe with me every day.
33:40Well, the other day I told him, wherever you want to go to eat, maybe restore the best food.
33:43He refused to eat.
33:44The bitch?
33:45No, your sister.
33:47I miss how I used to live.
33:48Do you think I don't remember when my little kisses used to come every morning to wake me up?
33:52With her tongue, wagging her tail and making me laugh a thousand times?
33:55My sister?
33:56No, man, the bitch.
33:58Okay, what do you have?
33:58Are you high on marijuana or what, man?
34:00Now you understand that I have a lot of faith in this doctor.
34:03He's a childhood friend of mine.
34:05He is a medical eminence and has graduated from the best universities in the world.
34:09It's the best thing in the world.
34:10I hope so, I hope so.
34:11Brother, should I call you again?
34:12To the bitch?
34:13No, your sister.
34:14Oh, I'm talking to the doctor, man!
34:15Okay, sorry, am I speaking to the Fresh Dead Man's sanatorium?
34:31Yes, from New York.
34:32Thank you, miss.
34:32Look, it's the same person who was talking about Mexico a moment ago.
34:35I urgently need to contact Dr. Sayas, please, it's urgent.
34:38Has the operation finished?
34:39It's over.
34:40Please put me on your extension, if you would be so kind, miss.
34:43Thank you, I'll wait here.
34:46Hello?
34:47Hello, Dr. Sayas?
34:49Yes, who's speaking?
34:50Uh, well, you know I'm here?
34:54That?
34:54My paper is blue, this is my bed.
34:56Don Alfredo.
34:57Don Alfredo.
34:57See how penis classes are useless to me?
35:02Dr. Sayas, I'm going to speak to you in Spanish because you don't understand me in English.
35:05Look, it's your childhood friend speaking, your friend Alfredo Solárez, do you remember me?
35:08I don't remember.
35:09How could you forget, man?
35:11On the same block, in the same neighborhood.
35:13Don't you remember that they used to call you "Firulais"?
35:15That's my firul, a firulais!
35:17Vigate.
35:19This is your childhood friend, bald Solárez, remember him?
35:21Ah, the bald guy! Oh, bald guy! You caught me busy just now.
35:27Well, I'm very sorry, but it's a very urgent case, please.
35:30What's happening?
35:30I want you to come to my house.
35:32But I'm even in New York.
35:33It doesn't matter, grab a jet, a helicopter, a flying saucer, I'll pay for it.
35:36Ah, it's an emergency.
35:37Sure, please.
35:38Well, look then, baldy.
35:40Yeah.
35:40Wait for me sitting down.
35:42No, look, whatever, but come quickly, please.
35:45I really need you here.
35:46No, well, hold on, I've arrived.
35:48How is that possible? You've already arrived.
35:49Little brother, please.
35:50Alfonso, how wonderful.
35:51How are you?
35:51It's great that you're here.
35:52Excellent.
35:53You have no idea how happy I am to see you.
35:54Hey, but how did you get here so fast?
35:55Didn't you tell me it was an emergency?
35:57Yeah.
35:57I came via the telephone line.
35:59You don't say.
35:59I got off at the next post.
36:01Yeah?
36:01I managed to give myself a quick tap.
36:02What happened?
36:03An electric shock from the pole.
36:05Ah, but you're already here on the main topic.
36:06That's great, that's why I'm a doctor, to cure people.
36:08Sure, sure.
36:09Who knows how to do eyelashes?
36:10Your friend.
36:10Who studied?
36:11You.
36:11So, let me, let me get to work.
36:13You allow me a pulse.
36:14Don't worry, this is a matter of...
36:16Oh, you messed up badly, that's wrong.
36:18No, I don't think there's any problem.
36:19Look, if you'll allow me, Simon.
36:20Look, I'm the doctor.
36:20Who studied?
36:21You.
36:21Who burned their eyelashes?
36:22So please, stop snooping, let me work.
36:25May I?
36:26We're going to take everything we need to...
36:29Because I'm here.
36:35What thing?
36:36I can't hear a thing, how strange.
36:38Well, put these things in your ears.
36:40Ah, yes, that's right.
36:40But now I hear more things from them, now I can hear everything.
36:42Hey, the heart is on this side, okay?
36:46It's because I'm left-handed.
36:50No, man, it's...
36:51Chava, it's missing what good tacos have.
36:53That?
36:54Crackling.
36:55Oh, look, please.
36:56Don't worry, who's the doctor?
36:57Who burned their eyelashes?
36:58Yes, yes, you, of course, but...
36:59Please don't bother me, I know what I'm doing.
37:01May I continue examining you?
37:02Okay, open your mouth.
37:04Stick out your tongue.
37:05Shut your mouth.
37:05Oh, listen, I bit myself.
37:07Symptoms of an idiot, notice how tall she is.
37:09But enough is enough of wasting time, isn't it?
37:10No, we're not going to waste time.
37:11Who is the doctor?
37:11Of course you.
37:12Please, who burned their eyelashes?
37:14You burned your eyelashes.
37:15Well, I'm explaining why you shouldn't be washing up.
37:16Okay, sweetheart, turn around, please.
37:18Ah, wow, now it's you.
37:20Do you have an encyclopedia?
37:21Sure, man.
37:22It's been said again, but don't worry,
37:23In any case, there is no doubt.
37:25Which page should I open it to?
37:26No, no, no, I just want her
37:27To get the cake, look, it goes here.
37:29And now, I'll bring everything to you.
37:31Let's see, cool, let's see, say, Acapulco.
37:34Acapulco.
37:34Don't be silly, say it properly.
37:36Uh, well, I'm the guy.
37:37Look, look, look, doors this way.
37:38Acapulco, good vibes.
37:39Acapulco.
37:40Acapulco.
37:41Okay, a little louder.
37:43Acapulco.
37:43Oh, just a little more.
37:46Acapulco.
37:46When are we going?
37:47No, no, it's a matter of...
37:49Please be quiet, this is very serious, miss.
37:51Please, loudly.
37:52Acapulco.
37:53Acapulco.
37:53No, this old woman is unwell.
37:54Why, listen?
37:55He only gives it up to chilpancín, right?
37:57Oh, please, Alfonso, understand what awaits you.
37:59Hey, I think the old lady looks great, Manu.
38:01Of course it's fine if she's not sick.
38:03Oh, I'm not sick.
38:03No?
38:04So what the hell am I doing here?
38:05Well, no, you know everything.
38:06Well, no, not that.
38:07Ah, then let me explain.
38:08Please, Adriana, step aside, let me speak to the doctor.
38:10See you later.
38:10Are you Adriana?
38:12Yes, I am Adriana.
38:14And you already...?
38:15Given that?
38:17Did you already know the bald guy?
38:18Ah, yes, I already had the pleasure.
38:19So, you're no longer scared of the bald guy.
38:21No, I've already gained confidence in him.
38:23Oh, and how much?
38:26How much what?
38:27How long have you known the bald guy?
38:29A long time ago.
38:30Ah, yes.
38:31Given that?
38:32Is he leaving already or what?
38:32Already?
38:33Okay, please leave.
38:34Fifteen old woman, eyes of a duck or a snipe.
38:35Okay, go away, please, man.
38:37Furthermore, I believe that you are the one who is sick.
38:40Why would I be sick?
38:40You look very haggard, bald guy.
38:41No, man, look at the big-assed one, look more than anything else.
38:44What's that?
38:45Listen to me.
38:46Have you had your butt removed?
38:47What does that have to do with anything?
38:47Well, you have no butt at all.
38:49Oh, oh, oh, don't be a language.
38:50You really do have a needle-like butt.
38:51Needle-shaped?
38:52Yes, the absolute hole, you know what I mean?
38:54Oh, please, this is...
39:01I mean, come on, you're not doing too well either.
39:06No, we're talking about you, I don't know.
39:07Oh, well, but you're in the same boat.
39:09Or worse.
39:09Oh, yes.
39:10You have a viper's buttocks.
39:12Hey, hey, you failed.
39:13Snakes don't have buttocks.
39:15Neither will you.
39:18Lollipop buttocks.
39:19Well, that's for sure because of the sweetness.
39:20No, because they're so sucked, like that please.
39:22Okay, that's it, right?
39:23Already.
39:23Let's leave that alone.
39:24Well, you're really messed up, man.
39:25Because?
39:25Emaciated, with a puffy eye, he looks beyond eyes.
39:27What do they have?
39:27Your eyelid has already drooped, you're bald, all your hair has fallen out, but...
39:30How could my hair fall out, man?
39:31Well, well, then they looked down at you because you have something.
39:33But what an idiot, like that, with his eyes down.
39:35Well, you have a lot of baldness.
39:37So what?
39:37What do you mean, does he have it?
39:38That's how I was born.
39:39Oh, what a damn ugly kid he was.
39:40Oh, right, please, let me talk nonsense, okay?
39:42Okay.
39:42This is quite serious, please sit down.
39:44I'm going to call.
39:44What's this about, my dear bald guy?
39:46Look, before I explain why I called you,
39:49I want to remind you that we've been friends since childhood.
39:51That's right, but...
39:52From childhood.
39:53We grew up together.
39:54As friends.
39:56Like brothers.
39:57No, dog is better.
39:58Well, like...
39:58Please, even though I was already a millionaire since childhood,
40:01I never made you feel less than.
40:02No, you were just envious, nonsense.
40:03No, no, no, no.
40:04Remember that you were a poor, lazy boy,
40:05starving, ragged, bowling alley,
40:07uh, swallow fire.
40:08Oh, oh, stop it, there, stop it.
40:09And I never...
40:10I never made you feel less than.
40:11I always protected you in my home.
40:13I let you into my house,
40:14that you played with everything I had.
40:16Yes, both.
40:16Those shoes are already broken,
40:17give the azayas.
40:18The pants are no longer usable.
40:20Give them the azayas so they can put them on.
40:21The food has already spoiled.
40:22whoever eats it will be azayas.
40:23What is it?
40:23The cake is already hard,
40:25Throw a birthday party for Azayas.
40:27Everything was for you, everything, Alfonso.
40:29Yes, everything.
40:30He didn't give you skates for Christmas.
40:31Oh, do you still remember that?
40:32What a bad time.
40:33They agreed, we would tell each other a story.
40:34Do you remember?
40:35Roller skating races!
40:36What did we throw in each time?
40:37I always beat you.
40:39Yeah, well, teyos had wheels, dude.
40:41Oh, so that's why they were beating you?
40:42Well yes.
40:43So, what's with all the fuss about that?
40:44We made a childhood oath.
40:46About what?
40:47That when we grew up,
40:48if one needed the other,
40:50I would answer his call immediately.
40:52Here I am, Alfonso.
40:53To serve you.
40:54Well, you have no idea how much I admire
40:55I hope you become a great doctor.
40:56An eminence.
40:58Something out of the ordinary.
41:00Your wisdom is tremendous, Alfonso.
41:01Your fame has reached every corner of the world.
41:04That's why I need you, Alfonso.
41:06I need you desperately.
41:08Oh, here I am.
41:09I need you like never before.
41:10No man needed another.
41:12Ah, okay, perfect.
41:13In my moments of solitude I have thought of you.
41:15Yes, yes.
41:15You are the only man
41:16that can fill the gap
41:17that I have in my life, Alfonso.
41:18No, no, no.
41:19Seriously, don't go around messing things up.
41:20No, Alfonso, really.
41:21Yeah.
41:21Look, I think Vitorino,
41:22The 150 kilos of rock help you.
41:24Because?
41:25Because any passion is crushed.
41:26Don't talk nonsense, Alfonso, please.
41:27But how you turn around, curtain.
41:28Alfonso.
41:28No, no, no.
41:29I am at...
41:30Please.
41:32What are you doing?
41:33What are you doing?
41:34I'm killing your idea.
41:34No, no, Alfonso.
41:35Wait.
41:36No, man.
41:36Please.
41:37That's how interligar works.
41:38Because?
41:38We're hitting each other with swords.
41:40Alfonso, you're not going to deny it, are you?
41:41No no.
41:43I don't do it, really.
41:43You have an obligation.
41:44Because?
41:45Because you're my friend
41:45And because that's what you studied for.
41:46Oh, yes, I studied,
41:47No more, you're already crazy.
41:48Alfonso, you're not going to deny it, are you?
41:50Of course I'm not going to deny it.
41:50Please.
41:51No, really, baldy.
41:51Look at me, on my knees.
41:53No, no, don't be bald.
41:53On my knees, I beg you, please, Alfonso.
41:55Baldy, from my background.
41:56Alfonso, Alfonso, please come here.
41:58I'm asking you.
41:59I'm asking you.
42:00Okay, but don't grab it, wait for me.
42:02Alfonso, Alfonso.
42:03That?
42:03I'm asking you.
42:04I'm asking you.
42:05I'm asking you.
42:06But I'm not giving it to you, dude.
42:07What did you bring?
42:08I'm going now.
42:08Listen to me, come here.
42:09That?
42:09How come you're leaving?
42:10Of course.
42:11Oh really?
42:11I don't do it, man.
42:12Don't rush into anything.
42:13Oh, of course, man?
42:15Think about it carefully.
42:15I'll think about it.
42:17Not a chance.
42:18Come here, Alfonso.
42:19What do you want, baldy?
42:20Do you mean no?
42:21No?
42:22Oh really?
42:22Oh really?
42:24Okay.
42:25Okay.
42:26I didn't want to fall into vulgarity, into the commonplace, but if necessary I will.
42:31How much do you want?
42:33I'm willing to pay you whatever you ask.
42:34Look, did you really want it for free, dude?
42:36Well, look.
42:37Well, no, but we're friends, he's not going to charge me.
42:39No, no, no, not a chance.
42:40I don't do it, man.
42:41Then no.
42:41No.
42:42Not even if you paid me?
42:42Not even if you paid me, man.
42:44What if I pay you in dollars?
42:45Yeah, yeah, man.
42:48How much?
42:49No, no, not that either, not that either.
42:50Oh, and like that?
42:50Oh, and like that?
42:51It's your final decision.
42:52It's your final decision.
42:53Alright.
42:53Goodbye, man.
42:54The friendship is over.
42:55It's over.
42:55Get out of my house.
42:56I'm leaving my house.
42:56Bad friend.
42:57Bad friend.
42:57Veterinarian.
42:58Apothecary.
42:59Butcher.
43:00You are violating the Hippocratic oath.
43:02What's that?
43:02As a doctor, you have an obligation to save lives.
43:04Clear.
43:04You're failing.
43:06I'm asking you to save my poor wife who is sick and doesn't want to...
43:08Pe, pe, pe, pe, pe, pe, pe, pe, pe, pe, pe, pe, pe, pe, pe, pe, pe, pe, pe, pe, pe, pe, pe, pe.
43:09Poor woman, she gives me a terrible feeling.
43:11Which woman?
43:12What are we talking about?
43:12My wife is sick with an incurable disease, and you are the only one who can save her.
43:16And is that what you were asking me for?
43:17I'm asking you, please, to see her, to take care of her.
43:19Right now, the whole "I'm asking you, I'm asking you, I'm asking you, I..." thing...
43:20Clear!
43:21It was because of your children.
43:22Yeah?
43:22Yes, son of a mile.
43:24That?
43:25I almost gave you the cake for a few dollars.
43:27What did you think?
43:38Mango kids, the woman is abusive.
43:40No wonder you have that idiotic face.
43:42How long have you been married?
43:43Two years.
43:43That's how you make an idiot face, little by little you make an idiot face.
43:46Two years of marriage.
43:47Because?
43:47Haven't you noticed that people are almost becoming idiots?
43:49No, don't say.
43:49Just look at how many married people are there, look.
43:52Ah!
43:53How did you get married, baldy?
43:55Don't you know that women are the abusive ones, the ones who take away men's wit, the corrupt ones, the jealous ones, the luxurious ones?
44:00Why do you think that way?
44:01Because the old grandfather of abusive, wretched old women just gets married.
44:04Look, first of all...
44:05Because?
44:05I will not allow you to speak ill of the woman from the morgue art.
44:09Remember that your mother was also a woman.
44:12So what? Was yours a bicycle or what?
44:14Furthermore, in my favor, respect them.
44:15When they get married, they abuse women, men, and the poor.
44:18Who was the first inhabitant of the world?
44:19Okay, just tell me.
44:20Adam?
44:20What was Adam?
44:21Man, male, all alone in the world.
44:24That was paradise, Father Adam all alone there.
44:27Until they brought him.
44:27Wasn't he walking alone?
44:28Yeah.
44:28Are they swishing around there, the little leaf moving?
44:30Yeah.
44:31Well, it took all afternoon, moving what...
44:32Only what?
44:33Even alone.
44:33There we were, being just men.
44:35Are there only men in the world?
44:36All men.
44:37And what were we going to do?
44:38Just single men?
44:39No, we hold hands with each other.
44:41What were we doing?
44:42Hey, please, until Mother Eve appeared and came to give this mother a piece of her mind.
44:46Because?
44:47Ah, well, it didn't start with him taking the little apple and holding the little apple up to our poor father Adam.
44:52And what does that have to do with anything?
44:52So, like what?
44:53He didn't even like the little apple.
44:54Oh?
44:54No, he drank Orange Crush.
44:56Ah, you see how you say "aiterías" (aim/targeting)?
44:57Didn't he eat the little apple?
44:58Yeah.
44:58Didn't the deadly sin begin there?
44:59What is this?
45:00Okay, what is this?
45:00What is this?
45:01Adam's apple?
45:01There it is.
45:02The Lord left them for us as punishment so that we would remember the capital sin.
45:05Adam's apple, stuck.
45:07And we still have to thank Mother Eve for giving him an apple.
45:10Because?
45:11What if he gives her papaya?
45:12How would we be doing?
45:13Hanging papaya boy.
45:15Hey, yeah, right?
45:16We were going to look like pelicans with a big ball here.
45:18Hey, I'd be hoarse from the papaya.
45:21And there's no way you'd like the doctor.
45:23Doctor, could you give me a few taps on the papaya?
45:26Oh, the one who committed suicide hanged himself, he hanged himself from the papaya tree.
45:29Son of God, right?
45:30I have acute papayaitis, I gargle with papaya.
45:33No!
45:34And the couples at the movies, my love.
45:35Kiss my papaya.
45:37Yeah.
45:37Well, he's right about that.
45:39But what does that have to do with my wife's illness?
45:41Well, grab it while it lasts.
45:42No!
45:42He takes me for a ride!
45:43What's wrong with your wife?
45:44My wife's illness is very serious.
45:46Grab it, and why?
45:46It's a one-in-a-million case.
45:48Okay, tell me, tell me, tell me.
45:50My wife is a sleepwalker.
45:51I told you, they're just mules as soon as they get married.
45:53No, no, no, no.
45:54I said sleepwalker.
45:56Ah, it's not a mule.
45:58Sleepwalker: a person who gets up to sleep at night.
45:59Ah, of course, yes, yes, I know.
46:01Walking everywhere.
46:02That disease is very bad.
46:03I can't wake her up.
46:04He dies, but...
46:05I can't talk to him.
46:06You can't talk to him.
46:06So, imagine the problem I'm in.
46:08Ok don't worry.
46:09I'll be back tomorrow night.
46:09No, no, no, no, it's just that I haven't finished explaining to you.
46:12His illness is complicated.
46:13Because?
46:13Because apart from being a sleepwalker, she's a kleptomaniac.
46:15Ah, she's a kleptomaniac.
46:17She's not Mexican, just so you know.
46:18Yeah.
46:18She's a kleptomaniac, isn't she?
46:19No, no, no, no, no.
46:20It's a Russian republic down below.
46:22No, man, kleptomaniac.
46:24A person who unconsciously puts to sleep anyone they encounter on the street,
46:28that already takes away the watch, the wallet, that keeps her warm.
46:30Ah, he takes off his watch.
46:31Ah, so she's not a kleptomaniac.
46:32No.
46:32She's a thief, that old woman.
46:33No, no, no.
46:34That disease is called kleptomania.
46:36That's why the kleptomania.
46:37No, man, he understands that it can't be robbery.
46:39Because?
46:40Because the next day I return everything that is brought into the house to its owners.
46:42Oh no, I'm a thief and you're a fool, man.
46:44Why, dude?
46:45Why are you returning it? What's done is done.
46:46No, no, no, then it would be theft.
46:48Please understand my situation.
46:49Okay, I understand, but look, it's already midnight and I have to leave tomorrow.
46:52That's precisely why I called you just now.
46:53Because?
46:53Because at midnight is when people go out onto the street.
46:56Your wife?
46:57Yeah.
46:57Uh-huh.
46:57At 12?
46:58Yeah.
46:59So it's not an ambulatory zone.
47:00So.
47:00He's going to hit the red-light district.
47:02Don't be silly, please, man.
47:03She's very precise.
47:04Look at her, she's coming out.
47:05Here it comes.
47:05Look at her, look at her.
47:06Look at her closely.
47:06No, she's hot, the old lady.
47:07Be very careful, look.
47:09Please lay it out.
47:10Come on, come on from the point of view I'm telling you.
47:12Look.
47:12What, what did he say to you?
47:15They already know me.
47:16Ah, death saw you, then.
47:17I was pleased.
47:17Don't talk to him, don't talk to him.
47:18We are not getting to know each other.
47:19Don't talk to him, don't talk to yourself.
47:27My briefcase.
47:28Why is that?
47:29No, he doesn't know him.
47:30And well, it takes something away from you.
47:30Because he already knows me.
47:31Ah, you're not going to see a dude coming.
47:32But I'll give it back to you tomorrow, man.
47:33You're not going to return it.
47:34I've brought my work tools.
47:35Okay, I'll give it back to you tomorrow.
47:36Hey, but if I have to operate, please.
47:38What's wrong with it?
47:38I've got the saw, the screwdriver, the pliers, everything.
47:41So, are you a doctor or a carpenter?
47:43No, it's just that now the women at the clinic always close them on me, that's why.
47:45Please understand, I understand.
47:46Cut my things.
47:47Don't worry.
47:48Are you a doctor?
47:48I am a doctor.
47:49Who studied?
47:49I.
47:50Who burned their brains?
47:50I burned my brains.
47:51So, understand it as a doctor.
47:53Now, apart from that, you're my friend.
47:54I am your friend.
47:55Well, just put up with it, please.
47:55And my things?
47:56I'll return them to you tomorrow.
47:57Ah, I'll return them tomorrow.
47:58Understand it from a scientific point of view.
47:59Look, here it comes again.
48:00Ah, it follows.
48:01Clear.
48:02Repeat the shit.
48:02Ah, look, that's all.
48:03And you're not going to see one of the guys, are you?
48:05Because he doesn't know you.
48:06That's why, but it goes with...
48:07We've already met.
48:08No, liable, leave it.
48:09I know, but leave her alone.
48:11No, that's the aesthetic...
48:12What's wrong with him, man?
48:12No, not that one, man.
48:13Why not?
48:14No, no, no.
48:15What are you doing?
48:16They have it in their inventory.
48:17They're going to eat me alive.
48:18I'll give it back to you tomorrow.
48:19She is the mother of all aestheticians.
48:20I know, so what?
48:21I won't need you, mother.
48:22What do you need it for?
48:23Well, to escape the mother's aesthetic, down here, mother.
48:25Understand this, I'll give it back to you tomorrow.
48:26I'll return it to myself tomorrow.
48:27Yeah.
48:27Okay, so what?
48:28You're not a doctor.
48:28Yes, I am a doctor.
48:29You didn't study.
48:29Yes, I studied.
48:30You burned your eyelashes.
48:31I burned my eyelashes.
48:31So, understand it.
48:33And my things?
48:34Aren't you my friend?
48:34I am your friend.
48:35So, deal with it.
48:36And my things?
48:37I'll return them to you tomorrow.
48:38Please stay calm.
48:40You are a scientist.
48:41Study the problem.
48:41Here comes the one from...
48:42And why doesn't he steal an armchair?
48:44No, no, he understands that these are things...
48:46What you don't know...
48:47Yes, what he doesn't know.
48:48And why don't you steal something?
48:49No, I already met us.
48:50Don't talk to him anymore.
48:51I'm going to make the nights for him.
48:52Don't talk to him, please.
48:53No, no, no, he doesn't understand me.
48:54No, ma'am, wait.
48:55Don't help him.
48:56Don't resist.
48:57Don't help him, but...
48:57Don't resist.
48:58Why aren't you going to my place?
48:59I resist you, please.
49:00She's an old thief.
49:01Ma'am, you're going to kill yourself!
49:02To stepfathers wherever you return.
49:04Come in, man!
49:04Oh, yes, no, go.
49:05Why doesn't he climb onto a sofa and leave through the window?
49:06Calm down.
49:07Old thief.
49:08I'll give it back to you tomorrow.
49:09I need the robe.
49:09I'll give it back to you tomorrow.
49:10How can they have a doctor without a white coat, man?
49:11Okay, I'll give it back to you tomorrow.
49:12They're going to get paid by social security, man.
49:14Besides, not tomorrow.
49:14Because I need it tomorrow.
49:15So that?
49:16I also sell pozole, dude.
49:18What nonsense are you talking about?
49:19You're not a famous doctor?
49:20I am a famous doctor.
49:20Didn't you study?
49:21Yes, you studied.
49:22Aren't you a genius?
49:23Yes, I'm a genius.
49:23But string it up, dude.
49:25Understand it.
49:25I understand.
49:26Are you my friend or not?
49:27I'm your friend, dude.
49:27So, deal with it.
49:29And my things?
49:29I'll return them to you tomorrow.
49:30Well, I'm going out into the street.
49:31She makes a big fuss about everything.
49:33Shh!
49:33No, no, no, no.
49:34No, no, what are you going to do?
49:35No, come here.
49:35Come here.
49:36Come here.
49:36Leave that alone.
49:37Leave that alone.
49:38Leave that alone.
49:38No, don't do that to me.
49:39Don't help him.
49:40No, no, no.
49:41Wait, no.
49:42Wait.
49:43No, no, no.
49:43No, no, no.
49:43No, no, no.
49:44No, no, no.
49:44I don't have underwear.
49:45No, no, no.
49:45No, no, no.
49:45No, no, no.
49:46Please wait.
49:46Wait, wait, man.
49:47Hey.
49:48Calm down, it calms you down.
49:48Damn horny old woman.
49:49Calm down, man, please.
49:50Horny Cheveja.
49:51No, man, please.
49:52That?
49:53You're from the Panchitos gang.
49:54Hey, what are you doing?
49:55How are you?
49:56Calm down, but now.
49:57No, no, no, okay, but leave, you wretch.
49:58That's it.
49:58Okay, that's it.
49:58That's sick, already.
49:59Already.
50:00Already.
50:00Already.
50:00Well, that's it.
50:01Already.
50:01Already.
50:02Already.
50:02Already.
50:03Yes, yes, yes, yes, yes, yes, yes.
50:06Already.
50:08Already.
50:09Already.
50:11No, well if you want, have another one.
50:12Oh, don't be the voice, man.
50:13Yes, now I'm down to my underwear.
50:15There's a lot of fuss about everything.
50:17It's normal, the pressure is unhealthy, it doesn't understand.
50:20What do you have?
50:21Oh no, what happened?
50:23Yes, man.
50:24What did you throw away, man?
50:25I swear I was the one who brought it.
50:27Don't scare me, what happened?
50:28You don't have a dog, my cat.
50:29No, nothing, nothing, nothing.
50:30Hey, don't step on any animal hides out there.
50:32Oh, but tell me what happened, man.
50:33Well, it keeps falling off.
50:34What did you lose?
50:35It falls.
50:35That?
50:37I brought it.
50:40There it is.
50:41There it is, huh?
50:43There it is, there it is.
50:44It's because it curls up when it's cold.
50:46She curls up.
50:47You make more of a fuss, you owe it to yourself.
50:48As a scientist.
50:49Oh, here it comes, here it comes.
50:50Where are you going?
50:51No, let's see.
50:51Park me.
50:51No, encourage me, let's see if I can get up.
50:53Stop!
50:54No, here it comes.
50:55Stop!
50:55No, since he left me.
50:56Stop!
50:56No, wait, just like that, fried little fish, right?
50:58Wait.
50:59Just like that.
51:00Are they here, man?
51:01I'm...
51:01No, what do you mean no?
51:02Don't do...
51:02Hey, go.
51:05No, no, you're staying.
51:07Put an end to the ruca.
51:08No, no, no, who's pretending?
51:08You can die, Luis.
51:09No, no, no, let her go.
51:10Wait.
51:10Please, Alfonso.
51:11Wait, it's very dangerous.
51:12No, no, no, let me go.
51:13Wait, I imagine, you're not going to kill her.
51:15No, no, no.
51:15Who is the doctor?
51:16You.
51:16Who burned the people?
51:17You.
51:17I'm not messing around.
51:18No, please, hey, no.
51:19Don't do that, okay?
51:20No, not me.
51:20You're going to kill her.
51:21Look, you don't want him to die.
51:22No, no, hey, listen to me.
51:23Get out of there.
51:24Who is the doctor?
51:24You.
51:25Who burned the people?
51:25Get out of the way.
51:26Am I not your friend?
51:26Yeah.
51:27So you're not hitting?
51:28Hey man, get up from there.
51:29Stop.
51:29Have I stopped yet?
51:30No, no, well.
51:30Hey, hey, don't go that way, okay?
51:32Where to?
51:33No, not that way.
51:33It's my bedroom.
51:35There it is, tell me.
51:35No, no, you're not taking my wife.
51:38I'll give it back to you tomorrow.
51:39No!
51:50Melero.
52:00My husband!
52:10My husband!
52:10And the mother.
52:12And the mother.
52:16Her husband?
52:18Oh, damn, well, I'm the husband.
52:20Yeah.
52:30Oh, damn, well, I'm the husband.
53:00Oh, damn, well, I'm the husband.
53:02Oh, damn, well, if the husband is a good one.
53:03Oh, damn, well, if the husband is a place.
53:23No, no, no.
53:24No, no, no, no.
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