- hace 2 días
Reparto: Severiano Población, Martín Ramírez, Ana Mariscal, Luisita Esteso, Tony Leblanc, Adela Carboné, Mariano Azaña, Dolores Bremón, Matilde Artero, Emilio González de Hervás, Ernesto Lapeña, José Luis Alonso, Carlos Fernández Cuenca
Dirección: Ana Mariscal
Sinopsis: Segundo López, un hombre de mediana edad analfabeto y 'librepensador' de Extremadura, decide marchar a Madrid a vivir la aventura de la capital y disfrutar del dinero de la venta de un negocio familiar heredado. Allí hace amistad con un chico de la calle, un golfillo al que llaman “El Chirri”, y juntos, convertidos en "jefe" y "secretario", los dos amigos viven una infinidad de peripecias urbanas. Mientras, conocen a Marta, una joven enferma y deprimida, que se aloja en la misma pensión destartalada que ellos.
Dirección: Ana Mariscal
Sinopsis: Segundo López, un hombre de mediana edad analfabeto y 'librepensador' de Extremadura, decide marchar a Madrid a vivir la aventura de la capital y disfrutar del dinero de la venta de un negocio familiar heredado. Allí hace amistad con un chico de la calle, un golfillo al que llaman “El Chirri”, y juntos, convertidos en "jefe" y "secretario", los dos amigos viven una infinidad de peripecias urbanas. Mientras, conocen a Marta, una joven enferma y deprimida, que se aloja en la misma pensión destartalada que ellos.
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CortometrajesTranscripción
00:00:26Thank you!
00:00:58Thank you!
00:01:12Thank you!
00:01:33In this peaceful city
00:01:35Segundo López was born
00:01:37He spent the first 47 years of his life here.
00:01:41devoting themselves to playing tute, julepe and rana
00:01:43to the contemplation of the Extremaduran landscape
00:01:46and to get drunk from time to time
00:01:47to kill boredom
00:01:50This good, illiterate, and sentimental man never worked a day in his life.
00:01:53because she spent her whole life under her mother's care
00:01:56from whom he has just inherited a modest fruit shop
00:02:00Segundo López transferred his industry
00:02:02thereby detaching
00:02:03of the only thing that still tied him to his people
00:02:06And one day, without even thinking about it
00:02:09embarked on the first journey of his life
00:02:12Hey, listen, don't cut in line!
00:02:14The queue is here!
00:02:14The queue is here!
00:02:16How often!
00:02:16Not drunk or anything!
00:02:17Yes, by direction, preguida!
00:02:19One for Madrid
00:02:20Third-class?
00:02:21There is no fourth
00:02:2276 with 80
00:02:24Hey, wait, let me turn it over!
00:02:26Leave it, so you can have a few drinks.
00:02:34Come on, man!
00:02:35But where is it going to open from!
00:02:37Does he know that the mobile phone is more for the friend?
00:02:39How awful!
00:02:40How awful!
00:02:54Not even if I'm drunk!
00:03:02Thank you!
00:03:54Thank you!
00:04:18Thank you!
00:04:30Thank you!
00:04:30I'm getting into it.
00:04:31For more on the renovated and varied street names.
00:04:34Team Planos and the Marisha Fallegos League.
00:04:37Play it, a bug from a distance!
00:04:38A thousand limits!
00:04:39Thank you!
00:04:41Portrait.
00:04:42And what good would it do me if I have no one to send it to?
00:04:44Hey, fellow countryman!
00:04:46Heavy?
00:04:47Maisano?
00:04:48Are you going to get me into trouble?
00:04:55Do you understand blueprints?
00:04:58Well, in this life you have to understand everything a little bit.
00:05:00Which street do you want to know about?
00:05:01For now, what do I know?
00:05:04Do you know a place where we can get something to eat?
00:05:06You should have said so, man.
00:05:06If there's a place where for two pesetas they'll sell you a glass of milk
00:05:09Well, that's what we're going for.
00:05:10Come on
00:05:19Hey, friend
00:05:20What's it going to be?
00:05:22I have a glass of milk with a Swiss roll.
00:05:23Double and braided
00:05:25Don't you think so?
00:05:25For all I care, you can wear it with bows if you want.
00:05:27Don't you have any ham sandwiches, pork loin sandwiches, or anything like that?
00:05:30No, we have pastries and we also have coffee
00:05:33Well, bring me some pastries, coffee, and a drink.
00:05:35Okay, sir.
00:05:36There's a bunch of crazy people here, but I think they're missing one.
00:05:40That one, for example, is a wise man who dedicates himself to mathematics
00:05:43And what about that other one who was so skinny?
00:05:45It's a very clever team.
00:05:47The problem is that he doesn't eat it.
00:05:48If that piece were to eat, a Russian slipper would come to its side.
00:05:51I'm not bad at writing verses
00:05:53Well, it was already noticeable on my face
00:05:55Well, I'm sure you'll have to finish off your things.
00:05:58What's the rush?
00:05:59No, it's just that I have a reason and I'm going to see if I can get it out of the way.
00:06:03You have to lie to yourself about life.
00:06:05Goodbye, friend
00:06:06Bye
00:06:06Until next time
00:06:07Get well soon
00:06:15Bye
00:06:16How healthy and how robust!
00:06:18Hey
00:06:21What's the name of that girl who's washing dishes?
00:06:24Francisca Miglanilla
00:06:25Good girl
00:06:26It's already visible
00:06:30At any time, in that establishment, it was always three past five.
00:06:34Segundo López, in the middle of the big city, also remained anchored to a fixed point
00:06:38That young woman who had seen his arrival eight days earlier
00:06:47What kind of life are you going to drag out?
00:06:49How I long to be a lady!
00:06:58Bring me paper and a pen
00:06:59Very good
00:07:07Here you
00:07:13This pen doesn't write
00:07:23Oh!
00:07:25Damn, I'm starting, you're all macho, dust
00:07:26Didn't I tell you that you can't pick up cigarette butts here?
00:07:29Leave him be; everyone earns a living as best they can.
00:07:32Would you like a coffee?
00:07:33If you pay me.
00:07:34Sit down
00:07:36Bring this creature a latte
00:07:39Is your name Mr. Segundo López?
00:07:41How do you know?
00:07:42Because I'm reading it on this paper.
00:07:43Do you know how to write?
00:07:44Yes sir
00:07:45Here, let me see it.
00:07:52What does it say there?
00:07:54Chirri, my name
00:07:54Well, it seems that when I was little they nicknamed me Chirri con el Chirri and it's stuck with me ever since.
00:07:59Do you have a mother?
00:08:00Of course not, sir, nor father either.
00:08:02We're in the same boat, you'll be more comfortable here
00:08:08My mother died of typhus when I was five years old and left me blind.
00:08:13With a blind person?
00:08:15Yes, he accompanied her until I brought it up
00:08:19One was already fed up with so many blind people
00:08:21Did he beat you?
00:08:21No, no sir
00:08:23I just prefer to be free.
00:08:25It escapes better
00:08:27Here, Chirri, read a cigarette and drink this coffee
00:08:30And where do you live?
00:08:31I eat wherever it falls
00:08:33And I sleep wherever I can.
00:08:41Chirri, do you know of any inns around here?
00:08:44Yes, but they charge seven pesetas for the bed and in advance.
00:08:48Come on, money doesn't matter, I have three thousand pesetas
00:08:51Wow, if you need a cheap button for your business, you know where to find it.
00:08:54Yes, I need it
00:08:55I need a knowledgeable and trustworthy person.
00:08:59Give him a high five, secondly, you're very big
00:09:01You're going to write me some verses
00:09:09Oh, Francisca Minglanilla
00:09:13You've driven me crazy, period.
00:09:15I come to the dairy for you
00:09:17And it's enough to drive you crazy.
00:09:19Because you are wonderful
00:09:22Gachó, you have no talent, what can I say?
00:09:24Come on, write the envelope
00:09:25Are you going to put it there?
00:09:29Mrs. Francisca Minglanillas
00:09:33Present
00:09:36Now I will add my signature.
00:09:39Wow, women really make you wait.
00:09:41I'm warning you, Chirri, this is the first time I've ever fallen in love.
00:09:42Yes, there's nothing more to do than give the verses
00:09:46That's Chirri
00:09:47Come on, let's see how you behave.
00:09:49Hey, listen!
00:09:50Tommy
00:09:51Is it for me?
00:09:51Your name isn't Francisca Minglanillas
00:09:53Well, that's it
00:09:54Who sent you?
00:09:55Don Segundo López, my boss
00:09:56I don't know that man
00:09:57But read it yourself
00:09:59You read it, because it has bothered me, black man.
00:10:02Oh, Francisca Minglanillas
00:10:03You've driven me crazy
00:10:05I come to the dairy for you
00:10:06And why are you sending me those verses?
00:10:08Go on, tell your boss
00:10:09Go and make fun of your father
00:10:12My boss is head over heels in love with you
00:10:14But if I don't finish the pig
00:10:15Don't you know Don Segundo López?
00:10:17And he's a millionaire
00:10:18That you have it, as the poetry says.
00:10:21Oh, Francisca Minglanillas
00:10:22I'm going to the dairy for you.
00:10:24And it's enough to drive you crazy.
00:10:25Because you are wonderful
00:10:27I am Don Segundo
00:10:28To you, you are here, and the one in the mornings
00:10:30And the one at night too
00:10:32Did the child tell you what he had to say?
00:10:34Brave, joker
00:10:35There's no joking around here.
00:10:36It is Segundo López's heart that speaks
00:10:38I've brought you a gift
00:10:40So you'll have a keepsake of me.
00:10:42And why are you going on about these things?
00:10:44Well, thank you very much.
00:10:46What a good medium
00:10:50It is a private house
00:10:52That's what suited us.
00:10:53He's a very good person.
00:10:54If you'd like, I can speak to the lady.
00:10:56Yes, I would like to live here
00:10:57Okay, Chatti
00:10:58See you tomorrow then.
00:10:59I'll be at the café like clockwork.
00:11:02How intense is the dew in the Guadarrama mountains?
00:11:05Aren't you cold, boss?
00:11:06Ah, I'm very tough.
00:11:08Touch yourself
00:11:10That's you, not a wall.
00:11:31You devour forty churros
00:11:33If you want to be new
00:11:37Make a tricate
00:11:44Come, Chatti
00:11:48Eat
00:11:54Money
00:11:57Look
00:11:59What matters is honor
00:12:00Love
00:12:01And the work
00:12:12Drink, man, drink
00:12:18Should I keep it for him?
00:12:19No
00:12:20Bring the fabric
00:12:21What will he lose?
00:12:23You're very young
00:12:24You know, it's well kept here
00:12:38Oh, Francisca Minglanillas
00:12:40Today, happiness is
00:12:43In honor
00:12:44Love
00:12:45And the work
00:12:55Another cup
00:12:58Where is my partner?
00:13:00Did you leave together?
00:13:12Where have I put the money?
00:13:14The kid probably only brought it.
00:13:16That?
00:13:20Is it possible?
00:13:21Sure?
00:13:22Didn't I already have my eye on you?
00:13:24Who robbed me?
00:13:27Listen, teacher
00:13:27Are you not going to pay for my drink?
00:13:38Chirri
00:13:40Chirri
00:14:04Yes, almost tall
00:14:05No, don't pay me.
00:14:07No, I didn't say it
00:14:08No, no, I didn't say
00:14:10No, I didn't say
00:14:10Serene
00:14:11Serene
00:14:12Serene
00:14:13Serene
00:14:34Serene
00:14:50Go on, follow that gossip.
00:15:22There is nothing left.
00:15:24But where else are you?
00:15:25Leave me alone, man.
00:15:26If I don't kill you, don't tell yourself.
00:15:31You've had me up all night drinking wine, looking for you like a madman.
00:15:38But why didn't you tell me you needed money?
00:15:42If I had given it to you.
00:15:47But, Chinguuri,
00:15:50I'm not your friend.
00:15:56What a disappointment you've given me.
00:15:57But if I...
00:16:05Come on, boss.
00:16:07Keep it to yourself.
00:16:09I'm giving it to you so you don't become a thief.
00:16:12Do that to me.
00:16:18Am I getting a sudden urge to squish you?
00:16:21Yes, sir, boss.
00:16:25Excuse the trouble, boss.
00:16:27What do you know about things, money?
00:16:30I don't want it, boss.
00:16:32Boss.
00:16:33Don't leave me alone, boss.
00:16:36It was unintentional.
00:16:41Well, Chinguuri.
00:16:43Let's not talk about it anymore.
00:16:4537.50 are missing.
00:16:47That was it.
00:16:48And not to invite a small person.
00:17:06Here it is.
00:17:13What do you want?
00:17:14We came on the recommendation of Francisca.
00:17:16Ah, yes.
00:17:17Come in, come in.
00:17:23Please come in.
00:17:26Are you father and son?
00:17:27No way, I'm my boss's secretary here.
00:17:30I was saying that in case they want to sleep together.
00:17:33Yes, absolutely.
00:17:34There's room for both of us in this bed.
00:17:36We kept her.
00:17:38That riser connects to Francisca's room.
00:17:41If you want, you can chat at night.
00:17:46Hey, Chirri.
00:17:47Good deal, huh?
00:17:49Good deal.
00:17:50Freak.
00:17:53Whose hat is this?
00:17:55From one who forgot.
00:17:58How are you, Chirri?
00:17:59You look impressive, boss.
00:18:02How much do we have to pay for him?
00:18:04Two hundred pesetas with room and everything.
00:18:12It's cheap, isn't it?
00:18:14Charge yourself.
00:18:22Hey, take this phone away from us.
00:18:24Doña Jacinta.
00:18:25I'm coming.
00:18:27She's another guest.
00:18:28The poor woman has been in bed for four months.
00:18:31Now I'll turn them around.
00:18:33Come and meet her.
00:18:36Marta, I want to introduce you to the gentlemen who have rented the small room.
00:18:40Ah, yes, let it in.
00:18:45How are we doing?
00:18:47I'm getting by.
00:18:48And what does it do?
00:18:50Flowers.
00:18:51Fabric flowers.
00:18:54Thanks to that, he manages to survive.
00:18:56And who does he sell them to?
00:18:57Yes, I work for two workshops.
00:19:00Now this really requires artistry.
00:19:03Do you like it?
00:19:04I'll give it to you.
00:19:16Thank you.
00:19:17What this young woman needs is to eat a lot and exercise a lot.
00:19:21Exercise?
00:19:22If what I need is to rest.
00:19:24Well, I should know what these things are about.
00:19:26I'll take care of this girl, and boy, will I ever.
00:19:29God heard him.
00:19:31We'll come see you if you don't mind.
00:19:34Annoy me?
00:19:34On the contrary, I would be very grateful.
00:19:39Let's go, Cherry.
00:19:40Let's have fun, because today is Sunday.
00:19:44Bye bye.
00:19:45I'll be right back, I'm going to give these gentlemen the change.
00:19:56Thank you!
00:19:57Thank you!
00:20:03Thank you!
00:20:07Thank you!
00:20:27I've always liked protecting artists.
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00:28:16Is it going to happen to you?
00:28:18How are you?
00:28:19It's any barbecue, any cabaret.
00:28:23They are made of glass, very thin.
00:28:25That fat guy clearly has good taste.
00:28:27Of course, not just anyone can have a pretty girl with Miguel.
00:28:29Three thousand pesetas, Pepe. Almost a fortune.
00:28:33How long does that Pericurio take?
00:28:36Well, since it's done with all customers, it's going to happen.
00:28:39Look, there it is.
00:28:39Good afternoon.
00:28:41How is it going to rain?
00:28:45Teacher, where do calluses come from?
00:28:47It's a defense mechanism, ma'am.
00:28:50A defense? Do you mean an offense?
00:28:54Let's see, let's see.
00:28:56But what metatarsal brings me here, madam?
00:28:59Like metatarsus?
00:29:00This is a metallurgical one.
00:29:01And also semi-engaged.
00:29:03It's very well done, beautiful.
00:29:04Go ahead, shop the pericurio.
00:29:06You see.
00:29:06The planted arch is perfect.
00:29:09But the metatarsus...
00:29:11The metatarsus again.
00:29:13What I need is for him to rip off my callus.
00:29:15It's driving me crazy.
00:29:16Let's see if I look brand new.
00:29:19Good.
00:29:20I'll rip it off.
00:29:21And his foot will end up like a newborn's.
00:29:27Oh, what a beast of a guy!
00:29:29Instead of tearing off her callus, we should tear out her tongue.
00:29:33Oops!
00:29:33Don't pull so hard, you'll hurt her.
00:29:35But, ma'am, for God's sake, I haven't even gotten to the heart of the matter yet.
00:29:38Come on, I don't know what he wants.
00:29:39Come on, it's one thing.
00:29:41To prey, chére.
00:29:41I'm coming.
00:29:48Come on, chére, and hurry up.
00:29:50I can't take it anymore, boss.
00:29:55Atiza.
00:29:57I don't think we're taking any small steps, boss.
00:30:00The exit is further up.
00:30:01Doesn't this building have a back door?
00:30:04You can only enter through the portal.
00:30:06I'm getting sore muscles...
00:30:08Let's go to the door and wait for them.
00:30:17Why the obsession with making houses so big!
00:30:21I say that sooner or later, these people have to come out.
00:30:25We wait.
00:30:26Keep your eyes peeled and be very careful.
00:30:30Let's hurry.
00:30:31And at seven o'clock he'll arrange a place for Zopenko and he's going to bring me the sewing machine.
00:30:34What kind of idiot is that, huh?
00:30:35Which Zopenko?
00:30:35What is this? I don't know you at all.
00:30:37So that you'll leave...
00:30:38Leave me alone!
00:30:40Leave me alone!
00:30:42Leave me alone!
00:30:43Leave me alone!
00:30:43Leave me alone!
00:30:43Leave me alone, leave me alone, it's tearing my clothes.
00:30:45He showed it to me!
00:30:46Are you stepping?
00:30:47What is fifteen?
00:30:48Don't forget!
00:30:52Let them kill each other!
00:30:54But what happened?
00:30:55Well, it turns out that this shameless woman wants to marry me, and that's why she came to the...
00:30:59It has already slipped away without...
00:31:01Come on! Come on! Let's go to the police station!
00:31:03Now.
00:31:10What happened?
00:31:12What are you doing here feeding my girlfriend?
00:31:14Look, I am a lady.
00:31:16Because even if I'm not wearing a Mutondoré coat, I'm a lady.
00:31:19And this individual has been trying to abuse me.
00:31:24Falsera, tell my secretary if there is anything like that.
00:31:26But stick to the point, okay?
00:31:27My boss yelled at this idiot because he had to.
00:31:30Without insulting is without insulting.
00:31:32Silence!
00:31:33And tell her about the sewing machine so she gets all the details.
00:31:36With all due respect, that's just gossip.
00:31:39Nothing but gossip.
00:31:40You must have seen that drunk uncle.
00:31:41Yes, I'll eat it!
00:31:42I'd eat her up!
00:31:42No sheep makes fun of me.
00:31:44On top of that, it mates.
00:31:45Silence!
00:31:46Let me go!
00:31:46I tear it apart like a root.
00:31:49Lock this individual up until tomorrow.
00:31:53The others who are leaving...
00:31:54Don't worry, Jerry, we'll get our revenge.
00:31:58This is an injustice.
00:32:00I need to speak to the top manager.
00:32:02Okay, let's go outside.
00:32:24Where are you going with my Samantha?
00:32:26It's for my boss.
00:32:27Did something happen to you in a second?
00:32:30No way?
00:32:31We're on strike and sleeping outside.
00:32:37Two.
00:32:41It's so cold!
00:32:42It's horribly cold.
00:32:47Come, on behalf of your secretary.
00:32:49Thank you, sir.
00:32:53Come on, give the kid ten pesetas.
00:33:03Come on, give the kid ten pesetas.
00:33:16Come, on behalf of your secretary.
00:33:19Come, on behalf of your secretary.
00:33:28Come, on behalf of your secretary.
00:34:00When you grow up, you will understand human injustices.
00:34:03Because you need to have good eyesight.
00:34:04If you could see the tongue, it was clear that Francisca wasn't all she seemed.
00:34:09Come on, Che.
00:34:10Whenever you want, boss.
00:34:14Has that pig returned yet?
00:34:16Shh! Shh!
00:34:20There's Rocky.
00:34:21Is Rocky there? You'll see.
00:34:29Take that, you indecent woman!
00:34:30Oh, help! Let them kill me!
00:34:33Inflatable!
00:34:36My first love has died.
00:34:39He won't be left with the boots, boss.
00:34:42So what?
00:34:43Let her keep the boots and the sewing machine that Segundo López gave her.
00:34:47So what now?
00:34:49Goes.
00:34:50You never know what you're going to do.
00:34:52Let's rest.
00:35:06Do you think tomorrow will be a good day, boss?
00:35:08Yes, maybe.
00:35:10And?
00:35:10That we could go for a walk with Marta.
00:35:13Yes of course.
00:35:19Come on, get up, we're leaving.
00:35:21But if I can't...
00:35:21One hundred replicas, huh?
00:35:27I'll give you the scarf in case you catch a cold.
00:35:30And you get out of here in a taxi.
00:35:32Okay, boss.
00:35:34Goes?
00:36:04Thank you!
00:36:28Are you feeling much better?
00:36:31I'm very well.
00:36:32Where do you want to go now?
00:36:34I think we should go home now.
00:36:41I'd like to have something to eat there.
00:36:43That's already been done.
00:36:44Stop!
00:37:09How about some roosters, boss?
00:37:11Yes, he said as an appetizer.
00:37:13Is that okay, Marta?
00:37:14Hey?
00:37:15Ah, yes, whatever you want.
00:37:20Hey, no, it's your ex-girlfriend.
00:37:27How did it go, kid?
00:37:36Is something wrong, Marta?
00:37:38No, what's going to happen to me?
00:37:40Okay, then see you later.
00:37:42Bye bye.
00:37:43Bye bye.
00:37:44Bye bye.
00:37:51Carlos.
00:37:52Carlos.
00:37:53It's just that you don't want to talk to me anymore.
00:37:55Sorry, I didn't recognize you.
00:37:57How quickly your faces fade away.
00:37:59You've also forgotten where I live, haven't you?
00:38:02Understand that things cannot be eternal.
00:38:06Unfortunately, for me, yes.
00:38:10But, girl, I've never cheated on you.
00:38:12You already know me.
00:38:13Of course.
00:38:14However, I had gotten my hopes up so high.
00:38:16It will pass with time.
00:38:20Yeah.
00:38:22Goodbye, Marta.
00:38:24Bye bye.
00:38:30See?
00:38:31It's best if he doesn't leave the house again.
00:38:34What's wrong with you is that you're still in love.
00:38:36Oh, no.
00:38:37It was indeed a coincidence to find him there.
00:38:39We went there because you were sure you'd find it.
00:38:51Is she asleep?
00:38:52Magnificent.
00:38:53Take off your boots, so they don't hear us.
00:39:05But why should they turn off the cinema lights there?
00:39:08Don't you see that I cough when I smoke?
00:39:11I'll fix it.
00:39:12Shh!
00:39:23Watch out, Javi.
00:39:29Shh!
00:39:31Shh!
00:39:45Shh!
00:39:49Shh!
00:39:53Shh!
00:39:54Shh!
00:39:54Shh!
00:40:03Shh!
00:40:07Chirriere is a spoilsport.
00:40:08What's it to me that your jacket is so slippery?
00:40:24This music thing isn't pretty.
00:40:32It's not beautiful.
00:40:33Yes, of course, but with the few lower ones.
00:40:37And look, when you get tired of music, these novels, which must be really good.
00:40:43Of the best, did they cost a kidney?
00:40:54And wait.
00:41:04Nice handkerchief, huh?
00:41:05But what nonsense!
00:41:07Are you going to return it right now?
00:41:11Don't you like it?
00:41:13Yes a lot.
00:41:14But this isn't for me, apparently.
00:41:16This is for me and I to go dancing.
00:41:20It's just not pretty.
00:41:22Of course it is.
00:41:24Well then, that's enough.
00:41:31But you'll run out of money in two days.
00:41:34Pah!
00:41:58Can?
00:42:00Enter.
00:42:01Since you are not coming out, I am here to tell you again about the payment.
00:42:05And you've told me that twenty times.
00:42:09But you're playing deaf and repeating yourself won't do.
00:42:11Jolene, how old she is!
00:42:12You can go to hell, brat.
00:42:13Children shouldn't interfere in adult conversations.
00:42:17I'm sorry, but if I don't get paid today, I'll have to take action.
00:42:21Well, take them, man.
00:42:22As far as I'm concerned, I'll just go back out on the street and that's it.
00:42:27That's all I needed, but I don't care.
00:42:28Do you hear it?
00:42:30So you'd better get going, because Segundo López doesn't need you at all.
00:42:33Hey boss, I didn't say anything like that.
00:42:36That one knows how to be there in good times and bad.
00:42:39Yes, as far as we're concerned, there are movies.
00:42:40But Marta is getting worse and worse and needs me to protect her.
00:42:50They look good, boss.
00:42:51Don't your kidneys hurt?
00:42:53No way, I'm used to it.
00:42:55What a tedious job.
00:42:58Don't your kidneys hurt?
00:43:00Don't your kidneys hurt?
00:43:07Don't your kidneys hurt?
00:43:10Don't your kidneys hurt?
00:43:13Don't your kidneys hurt?
00:43:17Don't your kidneys hurt?
00:43:18Don't your kidneys hurt?
00:43:20Don't your kidneys hurt?
00:43:21Don't your kidneys hurt?
00:43:23Don't your kidneys hurt?
00:43:24Don't your kidneys hurt?
00:43:32Twenty cups.
00:43:38There it is, boss.
00:43:40Manuel, do you want gender?
00:43:41Let's see.
00:43:45Bring it, it's not much.
00:43:46Pauline, it's not enough.
00:43:47Okay, I'll give you four pesos.
00:43:49Five o'clock from you, not just you.
00:43:50No, four.
00:43:51Alright.
00:43:55One, two, three and four.
00:43:59See you later.
00:44:00Bye bye.
00:44:00We followed the midwife, buddy.
00:44:06Do you see, boss?
00:44:08The matter is now resolved.
00:44:09And at night to die for God.
00:44:11No way?
00:44:11We'll eat some tomatoes I saw at Doña Jacinta's house.
00:44:14Good, Chirri.
00:44:17Here's the thing, boss.
00:44:19But it's closed.
00:44:21I'll open it.
00:44:26The tomatoes have flown away, boss.
00:44:28What a pity.
00:44:31But there is oil and garlic.
00:44:33I felt quite a lot.
00:44:35Yeah.
00:44:38Yeah.
00:44:54Rub the garlic in well, boss.
00:44:55This isn't something you catch every day.
00:45:05Tommy.
00:45:06They say the oil has a lot of surfactant.
00:45:08Sulfa what?
00:45:09I don't know.
00:45:10Something that is very nourishing, according to doctors.
00:45:14Good fantasy.
00:45:16We're going to leave her trembling.
00:45:24What a mess.
00:45:25So what do we do?
00:45:26Pull down the door, kick it.
00:45:28We can't wake Marta up.
00:45:31Come on.
00:45:34Oh, I'm so sleepy...
00:45:37Well yes.
00:45:41Don't worry, Chirri.
00:45:43You can spend a night anywhere.
00:45:52Turn off the light, Chirri.
00:46:05I must have the backrest nailed down to my ribs.
00:46:08Chirri.
00:46:09Chirri.
00:46:12I let them into the house because I have no heart.
00:46:15To leave them out on the street in the freezing cold.
00:46:20Come on, get out of here.
00:46:21Amoboano.
00:46:22Breakfast.
00:46:29But who drank the oil from the bottle?
00:46:32You'll know.
00:46:34Chirri.
00:46:35Did you want us to die of hunger?
00:46:38Thieves.
00:46:39And you, witch.
00:46:39Chirri.
00:46:42Second.
00:46:48What's wrong with you?
00:46:49Nothing.
00:46:50We were hungry and we drank the oil.
00:46:52That's why I've been.
00:46:55Donors, scoundrels, what you have to do is pay me.
00:46:58Come on, it can't be that bad.
00:47:00I told them to leave.
00:47:01Yes, ma'am.
00:47:02But right now.
00:47:04And let it be known that Segundo López has more than enough money to be rich.
00:47:12Wait.
00:47:14Don't march.
00:47:15They leave immediately.
00:47:17Don't worry, Marta.
00:47:19Sooner than you think, we'll be back through that door with a wristwatch.
00:47:23Wearing a top hat and carrying a ham under each arm.
00:47:26Come on, chirri.
00:47:27Goodbye, Marta.
00:47:35Before what is cooked, monster plai no.
00:47:37Curruido!
00:47:45Stop, let's go through that door!
00:47:49Curruido!
00:47:51Curruido!
00:48:14And we won't weigh this house again until we're rich?
00:48:16Yes, sir.
00:48:20Who are you thinking of, boss?
00:48:23Well, in nobody.
00:48:27Nobody? I don't really know.
00:48:30How do you know?
00:48:33Marta. You want her, boss.
00:48:36Be quiet.
00:48:37He loves her out of love, man.
00:48:39Of love? Of love? You know, maybe?
00:48:43Here, you want her as your girlfriend at FETEN.
00:48:46But hey, you're not a man and Marta isn't a woman.
00:48:50Well then...
00:48:51Ah, sure, sure.
00:48:52What you should do is write it in the verses, telling him so.
00:48:56It would be nice if I ended up marrying her, God willing.
00:49:01Come on, boss, make it poetry.
00:49:02I don't know if I can. My head is really messed up.
00:49:06Oh, Marta Martilla.
00:49:09You've got me in a terrible state.
00:49:11One moment.
00:49:13No, that's been done to death.
00:49:15I stamped some cheeses that might be useful to you.
00:49:18Okay, let them go.
00:49:19It is not true, Angel of Love, that on this part of the purest shore the moon shines and
00:49:23breathe better.
00:49:24Phelomenon!
00:49:25Relactellos, don't forget.
00:49:27I know it by heart.
00:49:30Wow, what a job.
00:49:31Come on, come on, we have to get there before one o'clock.
00:49:42Okay.
00:49:42Here, on the left.
00:49:44Okay.
00:50:04Come on, kid.
00:50:05But what's wrong with you today? Why aren't you walking?
00:50:06My head hurts a lot.
00:50:08The head?
00:50:09And the back.
00:50:17Let's go up.
00:50:22Let's go up.
00:50:24I can't, boss.
00:50:27My head hurts a lot.
00:50:30You catch me.
00:50:31And you can't stand up?
00:50:34No, boss.
00:50:35Can't.
00:50:39That is weakness.
00:50:44Your forehead is glowing red.
00:50:47Wait for me.
00:50:48Don't move until I come.
00:50:50I'm going for the money.
00:50:51Where to?
00:50:52Wherever it is.
00:50:54You just hold on there.
00:51:05Can't.
00:51:25No, that's not it. I told ten people, and there have to be ten.
00:51:28Yes, yes, I understand, but...
00:51:29That's not how you steal. You have to board.
00:51:32If we take too long, this light will go out, okay?
00:51:33That doesn't matter to me.
00:51:36Do you want to dress up for this scene?
00:51:38Well, if they pay...
00:51:39Naturally, 47.50.
00:51:41Where do I stand?
00:51:42Get on track first, there.
00:51:43Ale, and you too?
00:51:47Come on, hurry up. This one will be fine.
00:51:50Come on, we don't have to put up with it.
00:51:53Seven plans remain.
00:51:54Okay, okay, that's fine, very good.
00:51:56Hey friends!
00:51:57What's up, Jordan? What's going on, man?
00:51:59What should be done now?
00:52:01Well, you're going to be the godfather.
00:52:02Who needs to be baptized?
00:52:03Come on, quickly, get here.
00:52:04Beside the others and attentive to what I tell him.
00:52:07I do that like it's nothing.
00:52:08Let's go for a walk.
00:52:09Come on, can we film? Let's go, man.
00:52:11Ready.
00:52:11Have you had a cracker?
00:52:12Yes, ready.
00:52:18How much do we have to put up with, Ale?
00:52:20All day.
00:52:22Poor Chile.
00:52:23Hear my voice for the footsteps.
00:52:24They shoot on the fifth one.
00:52:25Understood?
00:52:26Very good.
00:52:27I don't like these handgun games.
00:52:29The devil carries them and then...
00:52:31Don't worry.
00:52:33Come on, get ready.
00:52:33It's going to be filmed.
00:52:35Camera.
00:52:36When?
00:52:37Action.
00:52:41Don't tell me.
00:52:41Strong!
00:52:42But where is that man going?
00:52:44Come on.
00:52:44Where did those scoundrels shake you?
00:52:46Okay, let's do it again.
00:52:48Enough, enough.
00:52:50Do you see what these handgun sets bring?
00:52:51What's that?
00:52:52That's stupid.
00:52:52Come on, open it.
00:52:53Come on, come on.
00:52:53If you don't go there, 47 measly pesetas is fine.
00:52:56You move, in order, and don't move.
00:52:57Enough, gentlemen.
00:52:59Enough.
00:52:59Does it repeat itself?
00:53:00It repeats itself.
00:53:10It repeats itself.
00:53:30To Chirri.
00:53:31Get up.
00:53:32We're lucky.
00:53:38Thank God I see you.
00:53:39My day has felt endless.
00:53:41Chirri.
00:53:43Get me out of here, boss.
00:53:45This looks like a niche.
00:53:58Boss.
00:54:23How are you doing, Chirri?
00:54:30How are you doing, son?
00:54:33I'm shivering.
00:54:35I'll bring you the cheese you like.
00:54:41And I'll bring you olives and everything else.
00:54:44Look.
00:54:47Drink wine.
00:54:50And milk.
00:55:08You feel relieved.
00:55:09Not much.
00:55:13Look, this is over.
00:55:18He's not leaving, boss.
00:55:20I'm not leaving.
00:55:21You go ahead and eat.
00:55:24Cold.
00:55:26Neither cold nor anything.
00:55:50Now you'll get warmed up.
00:55:52You'll see what a bonfire.
00:56:05Come on, Chirri.
00:56:06Let's go there.
00:56:07Come on.
00:56:17Can you walk?
00:56:18Yes sir.
00:56:33How are you, son?
00:56:36Better.
00:56:37Better.
00:56:46Look at that fire.
00:56:52You can't live without heat, right, Chirri?
00:56:57I have work for two or three days.
00:56:59If what you can't achieve...
00:57:02To be a film artist, you need a lot of talent and a lot of common sense.
00:57:06Do you understand?
00:57:07But you didn't get drunk these days, boss.
00:57:09Don't let him lose his job.
00:57:10I wouldn't even go near it.
00:57:15I've got the wrong floor.
00:57:18Cigarettes, blond tobacco.
00:57:22There is blond tobacco, cigarettes.
00:57:24There's blond tobacco, Pitillos, sir.
00:57:34Don't worry, you'll have another coat like his and this top hat soon.
00:57:42There is blond tobacco, there is blond tobacco.
00:57:45Two.
00:57:50There's blond tobacco, blond tobacco.
00:57:52I have a pack of Luqui.
00:57:53We only have loose cigarettes.
00:57:59Here, Chirri, we too have a right to life.
00:58:14What are you thinking, boss?
00:58:16Bah, that's just my business.
00:58:18It makes you want to break into those houses and take every last chicken they have.
00:58:22the kitchen.
00:58:24Do rich people have chicken in their kitchens?
00:58:27Anything you want.
00:58:29Then one of them comes along and says to the cook.
00:58:31Let's see, a serving of pipes and they serve it to you right away.
00:58:34Wow!
00:58:37Boss, look at Carlos.
00:58:39Which Carlos?
00:58:40The one who was nobody to Marta.
00:58:42What a parrot!
00:58:43She's ugly, really ugly.
00:58:45Sir, you are a pig.
00:58:48Oh, blond tobacco, cigarettes!
00:58:53Oh, how true!
00:58:55How fitting!
00:58:55But poor lady!
00:58:56How fitting!
00:58:57Let's go at three, sir!
00:58:59Thank you!
00:58:59He hit it first!
00:59:00This gentleman came to my defense when I was offended by that big dick!
00:59:04No way, man!
00:59:04This is what this lady says!
00:59:06What do you mean, I'm telling you?!
00:59:06I'm telling you!
00:59:08Fix yourself up however you can!
00:59:10Fix yourself up however you can!
00:59:10Kind sir, come in.
00:59:14You first.
00:59:15Come in, come in.
00:59:16Come on, Chirri, come in.
00:59:18Where is that gulf going?
00:59:18He's my secretary, ma'am.
00:59:20I find scoundrels disgusting.
00:59:22Let him sit there on the sofa.
00:59:29What is its charm?
00:59:31I'm not funny, ma'am. I'm very serious.
00:59:34But somehow it will be called you.
00:59:36Second Lopez.
00:59:38Second.
00:59:39Like the Count of Valdegomete.
00:59:42He was a drunk.
00:59:44I am Paloma Rebollo from Cereceda and Blanca from San Blas.
00:59:49Nice to meet you.
00:59:50Let's go home, you rascal.
01:00:22Another López, and with a top hat.
01:00:24Will he get anything?
01:00:25Or is it not if it's from Cáceres?
01:00:27No.
01:00:28How did you see the guy?
01:00:29Second.
01:00:38What house case?
01:00:44She is surrounded by enemies.
01:00:47That's why I'm sending the servants home to sleep.
01:00:56A drunkard.
01:00:59A drunkard.
01:01:02A drunkard.
01:01:05A drunkard.
01:01:21Cigar smoke kills microbes that float in the air.
01:01:24My cigarette goes out, boss.
01:01:33Wow, that's so common.
01:01:35I'll close that there, ma'am.
01:01:37Stay still.
01:01:40Call me miss.
01:01:43I am a young lady.
01:01:49I am very sick.
01:01:51What would become of me without cognac?
01:01:57Don't fill it up for the child.
01:02:07And you don't have the ashes on the ground, you pig?
01:02:10Pick it up immediately.
01:02:15Upstairs lives a quack doctor who wants to poison me by blowing suffocating gases into me through the heating pipes.
01:02:22What a beast of a guy.
01:02:24I want you to go up there and beat up Dr. Garrido.
01:02:27At this hour?
01:02:28But he won't be sleeping.
01:02:29You lift him out of bed.
01:02:31I'll give a thousand pesetas for the beating.
01:02:34One thousand pesetas.
01:02:35There's nothing more to say.
01:02:36Where is Dr. Garrido?
01:02:38Upstairs.
01:02:39Here.
01:02:41Is the doctor there?
01:02:42Happens.
01:02:50Is it urgent?
01:02:51Colena, it needs to be done urgently.
01:02:53Yes ma'am, it's extremely urgent.
01:02:54Come this way.
01:03:03Sit down, cool.
01:03:11This is backwards.
01:03:16Not like that.
01:03:22Look, stop complicating things.
01:03:33Good night.
01:03:35It's a miracle they find me awake.
01:03:37I was working.
01:03:38We're here on behalf of the downstairs neighbor.
01:03:41Didn't you want to poison her?
01:03:43For God's sake, she's mentally ill.
01:03:46Come on, she's crazy.
01:03:48If we agree on the price, we can poison her.
01:03:52No, thank you very much.
01:03:53The poor thing is obsessed with the idea that I wish her ill.
01:03:57Before he lost his mind, I was his family doctor.
01:04:01Yes, I will meet her.
01:04:03So what we're here for is to give him a real beating.
01:04:05No, no, no.
01:04:34Come on, man.
01:04:35Take.
01:04:37They can go along with it.
01:04:39You know where to find me.
01:04:46Now.
01:04:48If they come back, we'll have to split the money.
01:04:52Good evening, doctor.
01:04:54Goodbye, my friend.
01:04:58Did they hit him hard?
01:05:00Don't worry about it.
01:05:01That doctor won't want to deal with gas anymore.
01:05:05I bring the doll, completely ruined from the arrarle.
01:05:08And what did they do with the servants?
01:05:10We had to taste them.
01:05:12And cover their mouths so they wouldn't scream.
01:05:15Come, I'll give you the money.
01:05:20Sit down and have something to drink.
01:05:32Come on.
01:05:33Heroes.
01:05:34Thank you.
01:05:47In case I ever need it again, you have to leave me your address.
01:05:51The fact is that we don't live anywhere.
01:05:55Well, if he wants, he can stay with me as a trusted man, because I'm surrounded by enemies.
01:06:01I'll pay him three thousand pesetas a month and he'll put them all in training.
01:06:05And anyone who gets out of line, I'll kick them.
01:06:07But this rat, let him go.
01:06:08This is not a refuge for scoundrels.
01:06:11Shirley is my personal secretary and I pay him.
01:06:13What belongs to one, belongs to the other.
01:06:14Goes.
01:06:16Fine, let it stay, but let it get damaged.
01:06:19That?
01:06:20That?
01:06:25Sit down.
01:06:29A man like you is what I need.
01:06:33Fierce.
01:06:35Quarrelsome.
01:06:38Invincible.
01:06:40Don't worry, you won't be disappointed with our services.
01:06:44You keep quiet.
01:06:46Gulf.
01:06:48Are you cold, ma'am?
01:06:50Call me Paloma.
01:06:53Are you cold, Paloma?
01:06:55I can't stand the feeling of silver cutlery on my skin.
01:07:00It makes me extremely nervous.
01:07:04Scratch my back, second.
01:07:17And stand where you won't cast a shadow on me, because it makes me very nervous.
01:07:27Slower.
01:07:29So.
01:07:32This really feels good to me, second.
01:07:36Look, we have to do this operation.
01:07:39Afternoon, morning and night.
01:07:41Do you understand?
01:07:44I understand, Paloma.
01:07:47Fill my cup.
01:07:48The interiors need to be disinfected.
01:07:51What's the point of living for just four days?
01:07:56You have a long leash, my soul's dove.
01:08:00Have you thought about what might happen to us after we die?
01:08:03We will be buried.
01:08:06Come here.
01:08:08Haven't you heard of astral ectoplasm, the manifestation of the afterlife?
01:08:13Well no.
01:08:16Don't you know that it's possible to talk to people who have died?
01:08:20And it's being talked about.
01:08:21I believe it.
01:08:22Is that true?
01:08:23Then I could talk to my mother, for example.
01:08:26Naturally.
01:08:28The eastern gulf can serve as our means.
01:08:31We will make the dead speak through their own mouths.
01:08:35That's like drinking a glass of water to me.
01:08:42Well, let's give it a try.
01:08:56I believe we will achieve communication.
01:08:59You, you imbecile, do your best to fall into a trance.
01:09:02Yes, ma'am.
01:09:14Move the seats closer.
01:09:30Sleep.
01:09:35Sleep.
01:09:36Sleep.
01:09:38I'll send it to you.
01:09:41Are you asleep?
01:09:43Yes, miss.
01:09:44What do you see?
01:09:46I don't see a single drop, ma'am.
01:09:48He already fell in as he was going in.
01:09:51What was the dead woman's name?
01:09:53Scholastica Lopez at your service.
01:09:55Refocus and think about her intensely.
01:09:59Spirit of Scholastica Lopez,
01:10:01Answer through this scoundrel what your son asks you.
01:10:08Have you heard?
01:10:09They're here.
01:10:12Are you a mother?
01:10:14Yes sir.
01:10:17He said sir.
01:10:18It's not her.
01:10:19My mother always addressed me informally.
01:10:21No, they are lapses.
01:10:22Ask again.
01:10:24Are you a mother?
01:10:25Yes, my son.
01:10:27Yeah.
01:10:28It's her.
01:10:29It's her.
01:10:30It's her.
01:10:34Mother.
01:10:36Mother, how are you?
01:10:38Good, and you?
01:10:41Good.
01:10:42Ask him something you want to know.
01:10:45You went to the other world without telling me my father's name.
01:10:49And now I'd like to know.
01:10:52Well, his name was...
01:10:56Speak, speak, speak.
01:11:01I'm not really sure.
01:11:06Marta will be so happy when she sees us.
01:11:16We have to dress up to get in Doña Jacinta's face.
01:11:20I want a top hat too.
01:11:21Of course, we have to hurry back before the old woman wakes up.
01:11:30Keep going until the shops open.
01:11:38A round of brandy for all customers.
01:11:41And you guys play on my behalf.
01:11:53Come on.
01:11:59Another round of moonshine.
01:12:29Let these three artists get in the taxi.
01:12:36We'll continue, you bastard.
01:12:40Hand me that ham, Shirley.
01:12:46Ana, what have we arrived at?
01:12:50Come on.
01:12:54Well, I'm not excited.
01:12:56I feel a little thrill.
01:12:59You're really in love now, boss.
01:13:03You.
01:13:04A lot of stealth and a lot of artistry.
01:13:06Understood?
01:13:07When I give you the signal, you start the double step.
01:13:10OK.
01:13:25Ready.
01:13:27Ready.
01:13:27Ready, I hate.
01:13:38What's happening?
01:13:39What's all the fuss about?
01:13:41Get away, you indecent thing.
01:13:42This orchestra only plays for honest people.
01:13:44What's happening?
01:14:03What's happening?
01:14:20Yes, faucet.
01:14:27Open yours.
01:14:47I who brought you here.
01:14:52Now that we were rich.
01:15:35I who brought you here.
01:15:45Are you going to pay us?
01:15:48Now yes.
01:15:50Here, so you can get drunk.
01:16:34Here, so you can get drunk.
01:16:59Thank you.
01:17:06And why do you want so many flowers?
01:17:10For...
01:17:12And what do I know, Chirri?
01:17:15So that poor girl can go to sleep.
01:17:18That's you, a poet, boss.
01:17:29How beautiful, thank you.
01:17:32That guy's really drunk.
01:17:33He looks like a minister.
01:17:42Thank you.
01:18:10Look at the writer, Chirri.
01:18:12He's so thin.
01:18:16But he has his own world.
01:18:18What are you going to have?
01:18:20Coffee, a drink and a cigarette.
01:18:23And that gentleman can do whatever he wants.
01:18:26Don Segundo López invites him.
01:18:33What will you have?
01:18:34They invite those gentlemen.
01:18:35Thank you.
01:18:37Nothing now.
01:18:43No.
01:18:50No.
01:18:57Otherwise, no.
01:18:58No.
01:19:01No.
01:19:02No.
01:19:02No.
01:19:11Have that drink.
01:19:13Tríncatela.
01:19:19It's strong.
01:19:23You're a fool.
01:19:25You'll see.
01:19:33Your eyes are watering too.
01:19:35But I'm not kidding, gosh.
01:19:42Hey, friend.
01:19:44Put down your little letter-writing and come have a cigarette, man.
01:19:48His brains are going to turn to water.
01:19:53I accepted the invitation from that stranger.
01:19:55He told me all of this that you just saw.
01:19:57A simple, ordinary story, but hidden in its simplicity.
01:20:00God's impenetrable justice marking the exact minute of each event.
01:20:04That minute that can be for everyone at any time
01:20:07the beginning of a better life.
01:20:10And here we leave our characters,
01:20:12The doors to a new hope opened in her soul.
01:20:16What a strange creature man is.
01:20:19We are like swallows, animals that come and go.
01:20:22You probably don't understand me yet, Chirri.
01:20:24I started living too late.
01:20:27Let's go to the old lady's house.
01:20:29Okay, it's not interesting anymore.
01:20:31Wow, boss, you're a great eater.
01:20:33There's nothing left to do in Madrid.
01:20:36Are you coming with me to Cáceres?
01:20:38Okay, whatever you say.
01:20:39We're taking the train tomorrow.
01:20:41There's nothing left to do in Madrid.
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