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00:27Subscribe to the channel!
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00:38Well, you'll see the unemployment they're going to give us.
00:40We could have just bought it on DVD.
00:42But how many days late are we with the movie?
00:44I don't know, José Miguel slept with her, but since he hasn't told me anything...
00:47And why does the child want to see Lucia and sex?
00:48Just let the child watch whatever he wants.
00:50That way we have to explain fewer things to him later.
00:52The child has no age.
00:53She has it, she has it.
00:55What do you know that I don't?
00:57Eve.
00:58Emilio.
00:59What's going on here?
01:00Ah, so the video cross has closed, it's already costing a fortune.
01:02The crisis.
01:02What crisis?
01:03Well, it's the same old crisis, isn't it?
01:05So, what are they going to put here now?
01:07Juan, we'll take it and I'll open the boutique.
01:09No, it's not me.
01:10It wouldn't be me if there was a boutique here...
01:12Why am I famous in the neighborhood?
01:13Because he's a gossip.
01:14What the hell?
01:15Because you're nosy, man, look at this.
01:17Look, because of my style.
01:19Look, this is called Urban Fashion.
01:21And they all envy me for how well I've looked.
01:23No, that's clear, darling.
01:24But no...
01:25We took out a loan and opened the store.
01:27Hey?
01:28How do you think the Zara one started?
01:29So.
01:32Mr. John, I'll go around it for you, okay?
01:33Imagine me, Emilio.
01:35What a mess.
01:36You can keep my phone.
01:37I think it's a good thing for now, both boutique and boutique.
01:41Urba, fan, we tell you, she looks like Espinete's girlfriend.
01:44No one can live here, no one can live here, no one can live here.
01:49Every day is like this, I couldn't have imagined it when I came here.
01:53I was just looking for some sea air.
01:56I wake up every day in the middle of a hurricane.
01:58No one can live here, no one can live here, no one can live here.
02:02No one can live here, no one can live here, no one can live here.
02:07The house above me is collapsing, I can't find the doorman.
02:11The retreats watch over me and listen to me.
02:14I'm holding on in this place.
02:17I put in a cupboard a thunderclap, an earthquake, and a volcano.
02:24Daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy
02:30daddy, ...
02:31daddy, ...
02:31daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy
02:53of your first day of work.
02:55No, I'm not going out, okay?
02:57I don't go out like that.
02:58Well, I'm off then, okay?
02:59I'm leaving.
02:59Take the bus.
03:00Bye bye.
03:01No, no, no, no.
03:01Wait, wait.
03:03Oh, but how handsome my boy is.
03:07And wait, what have you done to his tie?
03:10I don't know.
03:11I hadn't worn one since my first communion
03:13And my grandfather tied the knot for me.
03:15Very handsome.
03:16Let's go, my love.
03:18Hey, hey, hey, I haven't had breakfast.
03:20Okay, grab something, run, alright?
03:21I'm getting the car out, hurry up!
03:23that my father wants to introduce you to
03:24to the team of architects.
03:31Fuck.
03:32Hey, this is so awkward.
03:34I've been kicked out of my job,
03:35that I've been left out on the street.
03:36But Paquito, I told you so,
03:37that nobody went into that video store.
03:39Damn, I don't know what I'm going to do, man.
03:40Well, you should get to studying.
03:42Because otherwise you'll end up like this guy.
03:43Hey, you, I'm a very secretive guy,
03:44I watch a lot of television.
03:46What's it about?
03:47But what's going on, Mario Conde?
03:49But who died on you, man?
03:51I'm not kidding, I'm already pretty burned out.
03:53Where are you going dressed like that?
03:56To work at Lucia's father's company.
03:58Wow, another one with connections!
04:00That's how the country is doing.
04:02Oh, look!
04:03There's Mom.
04:04Go on.
04:04Come on, kid, huh?
04:05They take you to school.
04:06I'll tell you what I charge later, okay?
04:08Suckers!
04:09Hey, ghost!
04:11Do you see how bad your day is?
04:12See how it ends.
04:13Look.
04:15Goodbye, handsome.
04:16Nothing can be seen.
04:18What are they going to put here?
04:20Hairdresser, makeup artist and receptionist needed.
04:22What will it be?
04:23A car repair shop.
04:24What's it going to be?
04:25A hair salon.
04:27I'm going to tell Bethlehem.
04:28He might be interested.
04:28Yes, yes.
04:29Let's see if you finally work on something serious.
04:31Oh, how nice, isn't it?
04:33A hair salon at your doorstep.
04:35This way we can read magazines for free.
04:37Oops!
04:37Are they going to put something here or what?
04:38A hair salon!
04:40Do you see it, Juan?
04:40They've already beaten us to it.
04:41Yes, it's a shame.
04:42We had already applied for the loan.
04:44Oops!
04:45Noises can be heard.
04:49And what is that?
04:51The UV tanning machine.
04:53What kind of hair salon is this?
04:56Excuse me a moment.
05:06Juan, is this a funeral home?
05:08Damn, what a joy.
05:10It could have been a sesop.
05:12This is his fault.
05:14Go away, Mr. Cuesta!
05:16Go away!
05:17But hey, what's it to me?
05:18Why did they put this here?
05:20Not a funeral home, Juan.
05:21There's no funeral home here.
05:28Hey, are you going to open a hair salon?
05:30Where is the video store?
05:31Look how nice.
05:32I'll wait a little while and not make the sidewalk.
05:34No, they've put up an advertisement.
05:35They need a receptionist.
05:37Oh!
05:37Are you going to start working?
05:40Sorry, it's for you.
05:42I am an actress and presenter.
05:44The only thing you've presented
05:45They are turkey sausages
05:46in a supermarket.
05:47And the muesli bars.
05:48Oh!
05:48For your information, Brad Pitt
05:50He was a waiter in Los Angeles.
05:51Do you see it?
05:52Even Brad Pitt worked.
05:54Well, what do they need?
05:55a receptionist downstairs.
05:57Leave me alone.
05:59Man,
06:00better than selling hamburgers.
06:02And it's right next door.
06:04Okay, come down.
06:06What are you waiting for?
06:07You have to earn a living.
06:08I'm going to change.
06:10A somewhat sexy bridge.
06:11Show a little bit of your leg
06:11which always helps.
06:13Oh.
06:19Natalia, you're leaving me.
06:20everything in between
06:21And I can't live like this, you know?
06:22Okay.
06:23No, it's not worth it.
06:24because it's not worth it.
06:25Juan, say something to this girl,
06:26please.
06:27I'm in the bathroom.
06:28Natalia, come help me.
06:30What is this?
06:31Juan!
06:33What's happening?
06:34Look what I found!
06:36to the girl.
06:37Natalia!
06:37Does he do drugs?
06:38No, worse.
06:40Natalia.
06:41Natalia,
06:41Can you explain?
06:42what is this?
06:43They are pills for stress.
06:45For stress?
06:46They are birth control pills.
06:48So, that's it.
06:49if I get pregnant
06:50You're going to get stressed, aren't you?
06:51Oh my God.
06:52Natalia,
06:52You're too young.
06:53To take this, huh?
06:54Me at your age
06:55I wasn't taking anything.
06:55That's not how it was.
06:56Hey, I'm turning 18.
06:58I'm supposed to be older now, right?
06:59No, your mother is older.
07:00You are a girl.
07:01What, Juan?
07:01Let's see.
07:02I have a boyfriend,
07:03I sleep with him
07:03and the gynecologist
07:04He prescribed the pill for me.
07:05Oh, what's the problem?
07:06But what's the problem?
07:08The problem is...
07:09Is...
07:10Pigeon,
07:11You tell him what the problem is.
07:13We want to get to know you
07:14to your boyfriend
07:15and to their parents.
07:16Correct,
07:16because if you go there
07:17Long live life!
07:18We need to be informed.
07:19As long as you live
07:20under this roof
07:21You have to...
07:21Yes, I call him
07:22But don't lecture me.
07:23Damn, I'm such a pain.
07:24Oh, oh.
07:25Juan,
07:26this girl
07:27It's gotten out of hand.
07:29And you
07:30Why are you looking in her bag?
07:31Are you being punished?
07:32Yeah, man,
07:33Whatever you say.
07:34As if we didn't have
07:35Enough problems already.
07:36It's awful.
07:37I cannot live
07:38with a funeral home
07:39at the door.
07:40I've been told
07:41that incinerate people.
07:42I go out on the street
07:43And the world is falling apart, huh?
07:44And also
07:44There is no cigarette machine.
07:46I don't think it's that serious.
07:47the truth.
07:48We can coexist
07:49with that perfectly.
07:50Very good,
07:50But you remain silent
07:51that the president is my husband.
07:52Well, Paloma,
07:53I'll be quiet.
07:53If I feel like it.
07:54Well, I don't care either.
07:55It is an establishment
07:56like anyone else.
07:57Like anyone else.
07:58So it's the same thing
07:58a funeral home
07:59than a rest stop.
08:00Man,
08:01because they don't have an oven.
08:04A little joke
08:05to relax a little.
08:06This gives me the creeps, you know?
08:07We can do something, right?
08:09Let's see.
08:09Attention,
08:10that the president is going to speak.
08:12I propose appointing a commission
08:13to convey to them
08:14our discomfort
08:14and cordially invite you
08:16to cease their business
08:17in the community
08:17and look for something comfortable
08:19in another location.
08:20Okay, volunteers.
08:24I suspected as much.
08:26Emilio, come with me.
08:27Oh, it's just that I...
08:28these sites
08:28They impress me a little.
08:29Emilio.
08:30Go.
08:39My God,
08:40What a cake.
08:42Come on, let's go.
08:48Hi there.
08:50Hi there.
08:51I am Juan Cuesta,
08:52president of the community.
08:53Eduardo de Cija,
08:54manager,
08:55How can I help you?
08:56No, no, nothing to me.
08:58We've come to tell you...
08:59Eduardo,
09:00I've already finished
09:01to embalm Mr. Garcia,
09:02if you want to add it
09:03Okay, fine.
09:04Yes, yes, yes.
09:04Let me introduce you to Clara,
09:05our so astonishing.
09:07Nice to meet you.
09:08Hi how are things?
09:38If you'll excuse me for a moment,
09:39that they relocate their business
09:40to a more appropriate place than this one.
09:42Look, I understand that a priori
09:43This activity may seem
09:44kinda
09:46uncomfortable,
09:47But I assure you
09:48that you won't have
09:49no problem.
09:50We are a multinational company
09:51with more than 200 establishments
09:52scattered all over the world,
09:53all necessary licenses
09:55to give treatment
09:56integral to the deceased.
09:57No, otherwise,
09:58I doubt they are
09:59highly qualified,
10:00No?
10:00But...
10:00What are you doing?
10:01Oh no, excuse me,
10:02which is that it has leaned
10:03you forward
10:03and I thought it was going to fall.
10:04Furthermore, let me know
10:05because they are neighbors
10:07we give them
10:07with a discount
10:08of 20%
10:09in all our products
10:10and services.
10:11Ah, well that's appreciated.
10:13They can transmit
10:14to their neighbors
10:14that we're going to take
10:17wonderfully
10:18and that I hope
10:18May it be for many years.
10:20Yeah,
10:21He's going to give it to her
10:22every time a joy.
10:23I don't know
10:24if I'm going to hold out
10:25A lot here, huh?
10:26I look like
10:27The boy from The Sixth Sense.
10:28I'm here all day
10:28seeing dead people.
10:29Do you know what
10:30Does this happen to you?
10:31That deep down
10:32You're a pervert.
10:32And you love to peek out.
10:33Do as I do,
10:34when you pass by
10:35Don't look.
10:35That's the most depressing thing.
10:36But you don't realize it
10:37that all of society
10:38It's assembled
10:38about the concept
10:39of denial of death.
10:41Interesting reflection.
10:41I'm going jogging.
10:42It's because we live thinking
10:43that we're not going to die.
10:44Mauri, he usually helps.
10:45Look, do one thing.
10:46Have a chocolate ice cream
10:47and a transilium
10:48And you'll see how it passes, okay?
10:49It's distressing.
10:50Imagine, for example,
10:50Something's wrong with you.
10:51But why would something happen to me?
10:53Well, because it can happen
10:54whenever.
10:54Fernando, you go jogging,
10:55You trip over a cord
10:56from the shoe,
10:57You're going headfirst
10:58against a lamppost.
10:58Bam!
10:59It's over.
10:59What should I do?
11:00What are you up to?
11:01Look, if what you intend
11:02that we register
11:03as a couple, in fact,
11:04I warn you that they exist
11:0530,000 more romantic ways
11:06to ask me, right?
11:07No, no.
11:07It's because I love you so much.
11:08It's because I love you so much, okay?
11:09And I'm telling you this very little.
11:11Very little.
11:12Take care, please.
11:13Okay, calm down.
11:13I tie my shoelaces.
11:14and I avoid streetlights.
11:16Yes, you take good care of yourself, okay?
11:17Yeah.
11:17But taking care of you all your life,
11:18Okay?
11:19Yeah.
11:20Hey, have you looked at that mole?
11:22Which mole?
11:22I think it has changed color.
11:24We should go to the doctor, huh?
11:25Fuck.
11:26And I'm going to give you
11:27a reflective raincoat,
11:28That way you can't be seen.
11:30Oh.
11:38Damn, Belén, what a level.
11:40Hey, you didn't happen to meet up, did you?
11:41with someone, right?
11:42No,
11:43I have an interview
11:43work, you idiot.
11:44But you weren't putting yourself out there for me.
11:45so beautiful.
11:46Nativity scene,
11:47Let's go back,
11:47that I am very lonely.
11:48Oh, I feel sorry for you.
11:50Hey, I'm the one who dumped it.
11:51We were supposed to be able to
11:52I'll come back whenever I want.
11:53What do you think you are?
11:54Am I a taxi?
11:55What can you get on?
11:55and get off whenever you want?
11:56What you will do is a narrow.
11:57And you, you're an idiot.
11:58Do you see it?
11:59We've already fixed it.
12:00When should we meet?
12:01Oh, the heels.
12:02Nativity scene!
12:02Nativity scene!
12:05Hello?
12:07Hello.
12:08I came about the advertisement.
12:10from the receptionist,
12:11But I think I...
12:11Yes, yes, come in, please.
12:12Sit down.
12:12You're lucky.
12:13because you're the first.
12:15Happens.
12:16Here?
12:17Yeah.
12:19How are you?
12:22A little nervous.
12:24Peaceful.
12:27Let's see,
12:27Do you have experience?
12:28in the field
12:28of the funeral processions?
12:30Well,
12:31I work at a burger place.
12:32I'm used to it
12:33to work with spoiled meat.
12:37Sorry.
12:39Yes, I already got it.
12:40It's very nice.
12:41It's very nice
12:42that you have a sense of humor
12:43in this business.
12:44We tried too
12:45to downplay
12:46as far as possible.
12:47Ah, I'm very good at taking things less seriously.
12:49Come on,
12:49that my life is a drama.
12:50And here I am.
12:51Anyway,
12:52It's not easy.
12:52working in a funeral home.
12:54Does it impress you?
12:55See a dead body?
12:57Well,
12:59normal.
13:00Come on,
13:00which I haven't had the pleasure of.
13:03I mean,
13:03pleasure,
13:03the occasion.
13:05Yeah.
13:06Look,
13:06Learn from these phrases
13:07which are a little
13:08for, well,
13:09to comfort
13:09to the family members,
13:11you already know.
13:12Yeah.
13:14But will you hire me?
13:15Yes, yes,
13:15The position is yours.
13:16You would start tomorrow.
13:19I mean,
13:19that I have to sell
13:20flowers and coffins.
13:22No,
13:22No,
13:22not quite.
13:23We provide a service
13:24more complete,
13:25more American style.
13:26I wanted to move,
13:27embalmed,
13:29hair salon,
13:29make-up,
13:30the wake,
13:31cremation,
13:31inhumation.
13:33Look,
13:34I'm going to teach you
13:34our facilities,
13:35which precisely
13:36right now
13:37we are embalming
13:38to one of our
13:40customers.
13:42pass by here.
13:48Listen,
13:48And this
13:49How much do they pay?
13:52Mister.
13:54Hello.
13:55They're here now.
13:57I'm not going to like it.
13:58Juan.
13:59This boy
13:59I'm not going to like it.
14:00Let's give it a try
14:01an opportunity,
14:01dear.
14:02Probably
14:02He's a lovely guy.
14:03She is going to bed
14:04with the girl.
14:05You're right,
14:05Me neither
14:06I'm going to like it.
14:08Hello,
14:09I am Álvaro.
14:09Yeah,
14:09pass, pass.
14:10Yeah,
14:10We were waiting.
14:11Has he not come
14:12your son?
14:13As?
14:14No no,
14:14Better, better.
14:15That way we can chat
14:16among us
14:16with complete frankness.
14:18Look,
14:18It's that we
14:19we sincerely think
14:20that our children
14:21They are too young
14:22for...
14:23for you,
14:24Do you get me,
14:25No?
14:25Yeah,
14:26but here it seems to me
14:27that there is a mistake,
14:27Hey?
14:28Because I don't have
14:29no children.
14:29As?
14:30Natalia's boyfriend
14:31it's me.
14:32As?
14:33Well, we've been carrying
14:34two weeks dating.
14:36But...
14:36So your son
14:37When is he coming?
14:39What is he?
14:40The one who's leaving
14:41with the girl?
14:42Ah,
14:44good.
14:47Get out of here!
14:48pederast!
14:49To jump in the cradle!
14:50Go hang out with girls your own age!
14:51Those are operated on!
14:52all!
14:53But let me tell you...
14:55Fuck,
14:55What a great vibe.
14:56That girl
14:57We have to take him
14:57to a psychologist,
14:58Hey?
14:58Yeah,
14:58but from social security,
15:00than the others
15:00They are very expensive.
15:01Álvaro hasn't arrived yet.
15:02But I have been told
15:03who was parking.
15:03Natalia,
15:04You're wrong,
15:04You're wrong,
15:05But that gentleman
15:06you remove the hair
15:07and he's like your father.
15:08Dad,
15:08Where is Álvaro?
15:09On the way home
15:10which is where it needs to be
15:11and give thanks
15:11I bet we haven't reported him.
15:12I'll tell you right now.
15:13who comes up and you ask for forgiveness,
15:14Hey?
15:14Hey,
15:14Natalia.
15:15Álvaro.
15:16Hey,
15:17I absolutely forbid you
15:18from this moment on
15:18that...
15:19Fuck,
15:20That's his car.
15:21Álvaro.
15:23But do you see why?
15:23I never introduce you to anyone?
15:25Oh,
15:25That car is extremely expensive.
15:26Hey?
15:26500 SL.
15:2715 million
15:28in metallic paint.
15:30But baby,
15:30This gentleman
15:30what do you do for a living?
15:31Mother,
15:32It's because Álvaro
15:32It has art galleries.
15:33She just opened one in New York
15:34and his father owns vineyards
15:36in La Rioja.
15:37Hey,
15:37Juan,
15:37like Angela Chanin.
15:39Look,
15:39as you have annoyed
15:40my relationship,
15:40I will never forgive you for this.
15:41Natalia,
15:42hey.
15:43Well,
15:44She's angry now.
15:45but over time
15:45He'll thank us for it.
15:46Juan,
15:46we cannot fight
15:47against love.
15:48It's clear they love each other.
15:49What are you saying?
15:50Don't worry about anything,
15:51that of this
15:52I'll take care of it.
15:55Alice!
15:58They caught me.
15:59Oh, really?
16:00Well,
16:00Well, let's see if you can do it for me.
16:01some free highlights.
16:02Yeah,
16:03The only thing is that
16:03First, it has to run you over.
16:05a bus.
16:05Me?
16:06Because?
16:07Because it's a funeral home
16:08moron.
16:08Here it goes.
16:09Oh,
16:10And why are you saying yes?
16:12Because it pays
16:121,500 euros.
16:14Besides,
16:15What's wrong with that?
16:15Working in a funeral home?
16:17Hey?
16:17Man,
16:17It's not what one dreams of.
16:18as a child.
16:19Hey,
16:20that maybe
16:20I know of some videos
16:21that it's good.
16:22And his wife
16:22He's not going to say anything.
16:24Well,
16:25Let's see how it goes tomorrow.
16:27Oh,
16:28Oh my God.
16:31Excellent,
16:31work at the same company,
16:32my love.
16:33Now we will be able to
16:34spend more time together.
16:36Yes, yes,
16:36it's very nice.
16:37But why haven't you told me?
16:38that you were going to be my boss?
16:40What's the problem?
16:41Well, I don't like it.
16:42I find it uncomfortable.
16:43Everyone knows
16:44that I'm your boyfriend
16:45and they look at me like
16:46There's the one with connections.
16:47Man,
16:48It's because you're a crony.
16:50And what about you?
16:51I've been here for four years
16:52working
16:52and I have a master's degree
16:53in business management.
16:55Yeah,
16:55about you being the daughter
16:56of the owner
16:57You leave it until the end
16:57of the curriculum.
16:58Well,
16:59Let's see,
16:59What is bothering you?
17:00Work with me
17:01or that your boss
17:01Is she a woman?
17:02Well,
17:03Now I'm getting all feminist.
17:06Look,
17:06Lucia,
17:06Don't take credit for your achievements.
17:07because your job
17:08It's the most comfortable.
17:09I do that myself.
17:09with your eyes closed.
17:10Oh, really?
17:12What happens
17:12It's because I'm an artist.
17:13I'm into business.
17:14I've never been interested in them.
17:15Very good,
17:16Well, I'll leave you.
17:16I'm delighted with my position.
17:18I'm taking a couple of weeks off.
17:19vacation
17:19which are perfect for me.
17:21Come on,
17:21Okay?
17:22Call your father.
17:23Right now.
17:27Hey,
17:28And what is it that
17:28What exactly do you have to do?
17:30Tomorrow my secretary
17:31It will make your day.
17:33Ah,
17:33I'm going to have a secretary.
17:36He is 57 years old.
17:38Okay.
17:40But she's good.
17:42I said
17:43that nothing can be done
17:44And nothing can be done.
17:45That funeral home
17:46It's a business
17:46completely legal
17:47And we have to learn
17:48to live with it.
17:49And couldn't they have opened?
17:50A candy store?
17:51Besides,
17:52It's not all bad news.
17:54After a tough negotiation
17:55I have managed
17:55that all the neighbors
17:56Let's have a special discount
17:58of 20%
17:59in all products
18:00and services
18:00from the funeral home.
18:02Ah,
18:02Well, that's great.
18:03And what am I good for?
18:03I want a discount on that?
18:05It's true,
18:06Because when I kick the bucket
18:07I don't have to pay anything.
18:08Fuck,
18:08what price,
18:09even to the point of dying
18:09It costs money.
18:10Well,
18:10And why don't we look at him?
18:11The positive side?
18:12It's true,
18:13There are some very attractive lives.
18:14Yeah,
18:14and they will increase in value
18:15many the floors
18:16with that down.
18:17No,
18:17Mauri,
18:18This will help us
18:18to realize
18:19that life
18:19It's two days,
18:21that we need to be happy
18:21and get along better.
18:24Good heavens,
18:25The posh girl has become a hippie.
18:27Pigeon,
18:27you and me one day
18:28We're going to have problems.
18:29Hey?
18:29I really want you.
18:30You to me?
18:31Don't tell me,
18:31What are you going to do to me?
18:32Let's see,
18:32let's see,
18:33let's see.
18:34Let's not blow things out of proportion.
18:36a topic that also
18:36It's so important,
18:37man.
18:37You're right,
18:38Fernando,
18:38please.
18:39Besides,
18:40much worse would have been
18:41that they had put us
18:42a bar or a nightclub.
18:43This at least
18:44It's a quiet business.
18:46In fact,
18:46I can't think of anything.
18:47a business
18:47that it be quieter.
18:48That's clear.
18:50We won't have any noise.
18:51Look,
18:52look,
18:52look,
18:52Here comes another one.
18:54Clear,
18:54This is an hour
18:55very bad.
18:56Come on,
18:56go inside.
18:57Can't you stop staring?
18:58Or what?
18:59Hey,
18:59How long ago
19:00that we don't do
19:00You and I, a checkup?
19:01How should I know?
19:02Well, I'm going to call
19:03And I ask now,
19:03That's what insurance is for.
19:04that they make us
19:06blood test,
19:07electrocardiogram,
19:08chest plate,
19:09a complete package.
19:09Yeah,
19:10Well,
19:10But calm down,
19:11I can tell
19:12a little unhinged
19:12with the topic
19:13from the funeral home.
19:14Deranged,
19:14come here,
19:15please,
19:16Stand here next to me,
19:17But take off your shoes first,
19:17Take off your shoes.
19:18Fernando,
19:18Take off your shoes and stand here next to me,
19:19please.
19:20Yes,
19:20yes.
19:21Come here,
19:21come,
19:22come.
19:22Fuck,
19:23How does this burn?
19:23Ah,
19:24It is the crematorium oven
19:25that they have placed underneath,
19:25What do we do?
19:26Well, look,
19:27for a start,
19:28I'm going to pay for the heating.
19:29and that way we save
19:30a little bit of money.
19:31Really,
19:32You are so optimistic
19:33so unpleasant.
19:42Lucia,
19:43the alarm clock,
19:44come on,
19:45to work.
19:46It's yours.
19:47Oh,
19:48Yeah.
19:51Leave,
19:53I have a meeting
19:54at the first hour.
19:55Okay,
19:55dear.
19:57Oh,
19:58Should I stay in bed now?
20:00That's up to you.
20:01I'm going to make the most of the day.
20:04Come on,
20:04Pussy,
20:05if it is still night.
20:08Come on,
20:09Don't mess with me.
20:12Flowers,
20:13flowers,
20:13flowers for their deceased loved ones,
20:14carnations,
20:15daisies,
20:16flowers in general,
20:17flowers.
20:18Hey,
20:18Don't buy them inside
20:19that they nail you with,
20:19Nobody has died on me.
20:21Well,
20:21Pussy,
20:21Well, for your wife,
20:22that you've neglected it very much.
20:23Flowers,
20:24flowers,
20:25flowers for her...
20:25gentleman,
20:26some flowers.
20:26Hey,
20:27Emilio,
20:27what are you doing?
20:28Man,
20:29Well, here I am earning a few euros.
20:30You didn't say that at the Neighborhood Meeting
20:31that we have to get used to
20:32to live with the funeral home.
20:33Well, I'm getting used to it.
20:34This is street vending.
20:34Emilio,
20:35It is strictly forbidden.
20:36Please.
20:38Yeah,
20:38and park in the area
20:39of the Mirubals
20:40And look at you
20:40where the car is.
20:41Hey?
20:41No,
20:42I'm saying that you should go
20:43very good
20:43at school,
20:43Mr. Juan.
20:44Ah,
20:45come on,
20:45see you later.
20:46We are nobody.
20:48The best ones always leave.
20:50Think
20:50which will now be
20:52in a better place.
20:54I almost preferred
20:55the hamburger thing,
20:55potato,
20:56medium soft drink.
20:56But Bethlehem,
20:57What are you dressed up as?
20:59In my new uniform.
21:00But it does seem
21:01who works here
21:01at the funeral home.
21:04No way!
21:04who works
21:05at the funeral home.
21:06Any problem?
21:06No,
21:07No way,
21:07look,
21:08So now I know
21:08don't mess around
21:08with no client.
21:11Flowers!
21:12Flowers for their dead!
21:12Little girl,
21:13flowers for your dead,
21:13Don't you want to?
21:14Flowers!
21:15Worth.
21:17Worth,
21:17Mrs. Navarro.
21:18We have to be strong.
21:19Can't,
21:19I can't.
21:20Hello.
21:21Nativity scene,
21:22Mrs. Navarro
21:23just lost
21:25to her husband.
21:28Attend her,
21:29please.
21:34How are you?
21:41Don't worry,
21:43that life goes on,
21:44women.
21:49think that now
21:50will be in a place
21:51far better,
21:52Hey?
21:55Well,
21:56sit down,
21:57sit down,
21:57sit down,
21:58sit down,
21:59that I'm going to teach him
22:00some coffins
22:01which are very good.
22:02Hey?
22:03Look,
22:04Look at this
22:05How cute!
22:05with the crosses,
22:06Hey?
22:09He didn't like it.
22:10Well, let's see,
22:11What do we have?
22:12But what are you doing?
22:13That's the bag.
22:14from Natalia.
22:14Be quiet.
22:16Hey,
22:16José Miguel,
22:16How do I unlock this?
22:18Green key
22:18and asterisk.
22:20Green key
22:20and asterisk.
22:22But what are you going to do?
22:23Be quiet.
22:25Leticia.
22:26Álvaro.
22:27This.
22:31Álvaro?
22:33No no,
22:33I am not Natalia,
22:34I am Paloma,
22:35her mother.
22:35Yeah.
22:37Hey,
22:37look,
22:38which is that here
22:38We are all here
22:38a little upset
22:39because of yesterday,
22:40Yeah.
22:41No,
22:41It's just that my husband
22:42It's a bit old-fashioned,
22:43But you've fallen for him.
22:44very good,
22:44Hey?
22:44Yeah,
22:45that you fall.
22:47Well, it's because Natalia
22:48it occurred to him
22:48that you could come
22:49tonight
22:50going home for dinner.
22:51Yeah,
22:51Well, to get to know each other
22:53a little better,
22:54Yeah.
22:55No no,
22:55What are you going to bring?
22:57No,
22:57It's not necessary
22:58that you bring nothing,
22:58no.
22:59Well,
23:00Bring some prawns.
23:02Yeah,
23:02tonight,
23:03at nine o'clock.
23:05Very good,
23:05Well, see you later.
23:06Bye bye,
23:07bye bye,
23:07see you later.
23:08But Natalia
23:09I wasn't going tonight
23:09to Marta's birthday.
23:11Be quiet,
23:12How do I block this?
23:14Asterisk.
23:15Okay then,
23:15put the bag there
23:16in bed
23:17from your sister
23:17before it comes out
23:18from the shower.
23:19Runs,
23:19come on,
23:20runs.
23:20But you brought it.
23:21Don't answer me.
23:22I'm going to make myself a coffee.
23:34Funeral home for the future
23:36Belén attends,
23:36How can I help you?
23:38Oh,
23:39my daughter,
23:40What a great shame.
23:41Oh,
23:42my Agustín,
23:43that has left me.
23:45Lady,
23:47I will accompany you
23:47in feeling.
23:48Oh,
23:49Will you accompany me?
23:49where to,
23:50little girl?
23:50No,
23:51No,
23:51No,
23:51I'm very sorry.
23:53Think
23:54which will now be
23:55in a better place.
23:56Oh,
23:58I know he's left me
23:59very lonely,
24:00very lonely.
24:02Well,
24:02Not yet because
24:03is here
24:03He's taking it from me.
24:05Lady,
24:05It has to be strong.
24:07Oh,
24:07little girl,
24:07But if I can't
24:08lift weight.
24:09No,
24:09No,
24:10No,
24:10Don't take anything.
24:11Just leave it there.
24:12we're already going
24:13We're going after him.
24:14Oh,
24:15What do I have now?
24:15What should I do?
24:16Look,
24:17one you like
24:17that,
24:17little girl.
24:18Yeah,
24:19Yeah,
24:19Yeah.
24:20Precisely
24:20we have
24:21a wide range
24:22of products.
24:22No,
24:23No,
24:23little girl,
24:23But for me,
24:24Look for me
24:24the cheapest,
24:25please,
24:26the cheapest one.
24:26How much does it cost?
24:27Well,
24:28the cheapest
24:28we would be talking
24:29from around,
24:30No?
24:31Of some,
24:32of about 600 euros.
24:34600.
24:35Oh,
24:35Oh,
24:36That's the cheapest one.
24:37bastard,
24:37Hey?
24:39Well,
24:39the thing is
24:40this,
24:41this is,
24:41This is of very good quality.
24:44Oh,
24:44I have such bad luck,
24:46that I bought another day
24:47a refrigerator
24:48and I threw the box away.
24:49Well,
24:49lady,
24:50I think that,
24:51that is worthwhile
24:52make a small effort
24:53at this time.
24:55But I,
24:55How am I going to spend
24:56that money
24:57if it was
24:57to bury it?
24:59Man,
24:59I think that
25:00this occasion
25:01He deserves it,
25:01No?
25:02Emilio,
25:03He steps out for a moment,
25:03I'm busy.
25:05I think that
25:06her husband
25:07He was a good person
25:08And he deserves this.
25:08and much more.
25:09No way?
25:10And he cheated on me.
25:11with my sister,
25:12who was uglier than me.
25:14You're such an idiot.
25:15Well,
25:16We've arrived
25:16and at another time.
25:17Little girl,
25:17come on,
25:18bye bye.
25:18But Bethlehem,
25:18Don't get angry,
25:19But what if it's for what purpose?
25:19practice a little.
25:20Get out of here,
25:20Get out of here.
25:21She looks so beautiful in that dress.
25:22Get out of here,
25:22You're going to laugh
25:23from whomever I tell you.
25:32Little girl,
25:32But how do you take action?
25:33in my life
25:33from the funeral home?
25:39But what is this?
25:41Try,
25:42that's burning
25:43the food.
25:44If it's not me,
25:45He comes from the funeral home,
25:46They must be cooking something.
25:48No,
25:49which is from the crematorium,
25:50idiot.
25:51Oh,
25:51Disgusting,
25:52Oh my God.
25:53And there I was, with the laundry hanging out to dry.
25:54These don't have
25:55enough customers
25:56And they want to kill us.
25:58to everyone.
25:59It's a dreadful black smoke
26:00that comes out of his window
26:01and it seeps in everywhere.
26:02It's not our fault.
26:03According to the technician,
26:04It is due to a blockage
26:05of the ducts
26:05ventilation
26:06of the building
26:07And that is responsibility.
26:08of the community.
26:09So,
26:10Fix it
26:11or we will have to take
26:12legal measures.
26:13Ah,
26:13who is also going to sue us.
26:14We make a living from this
26:15and it's fashionable
26:17incineration.
26:18Excuse me.
26:20And why are they putting him in there?
26:21in the oven?
26:22If they say it's faster
26:23the microwave.
26:24But let's see,
26:25Juan,
26:25we are in charge
26:26in the community
26:27And if these people
26:28He won't leave peacefully.
26:29He'll leave by force.
26:30Oh, oh, oh,
26:30what do you mean?
26:32What's the worst part?
26:33What could happen to him?
26:33to a funeral home?
26:34Man,
26:35that they ban tobacco.
26:36No,
26:36that they lose a body.
26:38Paloma, darling,
26:39you'll be implying
26:40that we steal a dead body.
26:41What a great idea, Juan.
26:43Tonight
26:43You organize everything, darling.
26:49Mr. Cuesta,
26:49I agree to this plan
26:50I see some gaps in it, huh?
26:51If we have
26:51than to have opened the boutique.
26:53Clear,
26:53Yes, I told him.
26:55Mother,
26:55I love you very much.
26:57No,
26:57I love you very much
26:58And I'm not telling you much.
26:59Hey?
27:00No,
27:01Don't pass it to Dad.
27:03Come on,
27:03take care of yourself,
27:03a kiss.
27:04Ah,
27:04and turn off the gas.
27:06Mauri,
27:07what is this?
27:08Did you see?
27:09A tape
27:09so you can run
27:10here at home.
27:10Look,
27:11It has different programs.
27:12Uphill,
27:12downhill,
27:13pulsometer,
27:13calorie indicator
27:14and the gap
27:15for the refreshment.
27:16Mauri,
27:16I don't want to seem
27:17ungrateful,
27:18But I like it
27:19go for a run outside.
27:20But don't compensate.
27:20that the street
27:21It could run you over
27:21a car
27:22or rob you
27:22or rape someone.
27:24Come on,
27:24at least try it.
27:27Look,
27:28for that,
27:29Juan.
27:29Did you see how great it is?
27:30Oh, no,
27:30Yeah,
27:31it's very nice,
27:31Hey?
27:32Clear,
27:32And that way if you have a heart attack
27:33to the heart,
27:34Well, I can help you.
27:35Oh,
27:35Speaking of attacks,
27:36Speaking of attacks,
27:37Put this on.
27:37What is it?
27:38The best invention there is,
27:39It was hard to get it.
27:40Look,
27:40You feel unwell,
27:41You press this button
27:42And an ambulance arrives.
27:43to find you,
27:44So,
27:44no registration fees or charges
27:45or anything.
27:45But how do we deal with this?
27:46This on top of everything,
27:47but if,
27:47This is for older people
27:48who live alone,
27:49Mauri.
27:50And what about mobile phones?
27:51They were for yuppies
27:52And now everyone has them?
27:53Well,
27:53Okay,
27:53but,
27:54but,
27:54But stop it,
27:54I just don't feel like it right now.
27:55Okay.
27:56Yeah,
27:56No,
27:56No,
27:57This is to accelerate,
27:58Mauri.
27:58Oh,
27:58Well, it's going to be this one,
27:59wait.
28:00Mauri,
28:00that I'm going to slip,
28:01Stop it.
28:01Hey,
28:02Okay then,
28:02Hey?
28:06Are you OK?
28:07If you feel unwell,
28:08Press the button.
28:10I don't know why we have to have dinner with the pigeon.
28:12I feel a great deal of hostility
28:14towards this gentleman.
28:15This boy,
28:16Juan,
28:17that Álvaro isn't that old.
28:18I can just imagine her there with the little girl
28:20and I get sick.
28:23Hello,
28:23happens.
28:24How are you?
28:24Hello,
28:25What a lot of prawns.
28:26I'm going to have to freeze some.
28:27for New Year's Eve.
28:29Hey,
28:29a little wine,
28:30great reserve of '82.
28:31Excellent,
28:32Come in and sit down,
28:33Sit down.
28:34Hey,
28:34You feel right at home,
28:35Hey?
28:35Just like home.
28:36Thank you.
28:38Hello.
28:39Hello.
28:40This is José Miguel,
28:40the little one.
28:41What's up, dude?
28:42How are you?
28:44And Natalia?
28:46Well, it was my birthday,
28:47But he told me that we
28:48Let's have dinner,
28:49then, if that happens,
28:50already.
28:51Juan,
28:51Open the wine.
28:52The wine needs to breathe.
28:54and breathe.
28:55Well,
28:56Álvaro,
28:56Tell us.
28:57How did you meet Natalia?
28:59Well, she's a colleague
29:00from my daughter's school.
29:01Ah,
29:02You have a daughter.
29:03Keep an eye on her.
29:04You never know
29:05who could be behind it
29:06to take her to bed.
29:07Hey,
29:08You won't be married,
29:08No?
29:09No,
29:09I am not separated.
29:10My wife and I
29:11we drifted apart
29:13with time and...
29:14It's as soon as they turn
29:15the 20s,
29:15They lose interest.
29:17Juan,
29:18Eat your soup.
29:19that it gets cold.
29:21Look,
29:22I understand that
29:24the age difference
29:25with Natalia
29:25may be an impediment.
29:27After all
29:27I am 38 years old.
29:2938 years old?
29:30Well,
29:30if you're a kid.
29:31Besides,
29:31You're from my generation,
29:32Hey?
29:32The important thing
29:33It's about having love.
29:34And about the pill
29:36It was yours,
29:36No?
29:37Clear,
29:38It's because with a condom
29:39It's not the same.
29:40Juan.
29:41Dad,
29:42the soup.
29:46I'm home now.
29:48How are you?
29:49Delighted with life,
29:50dear.
29:51And how are you?
29:52project manager?
29:53Very good,
29:54very good.
29:54The truth is that
29:55very good.
29:56Because
29:58This is shit.
29:59Nobody can stand this.
30:01I've been swamped with meetings.
30:03We've been stopped by some roadworks.
30:04because they have appeared
30:05some Roman ruins
30:05in the garage.
30:06And the surveyor
30:07Why is he saying nothing?
30:09Pussy,
30:09Make cement and be quiet.
30:10That guy tomorrow
30:11He's out on the street.
30:12What a mania,
30:13ancient civilizations
30:14by burying it all.
30:16And some customers
30:17complaining
30:17because they have appeared
30:18a crack
30:19on the wall.
30:20Fuck,
30:20but he puts up some paintings,
30:21Pussy,
30:22like we all do.
30:24On,
30:24with this suit
30:25I've realized
30:26I have dandruff.
30:27Well, I've left.
30:28Shopping with Alicia.
30:29I gave myself a little massage
30:30and I have eaten
30:31in excellent Arabic
30:32with my sister Elizabeth.
30:36Do you see it?
30:37They're already touching me.
30:38Eggs again.
30:39Yeah.
30:41No.
30:42No, no, no,
30:43I don't know.
30:45Well,
30:46Okay,
30:46Well, send me a fax.
30:47Oh, no, no, no,
30:48I don't have a fax machine.
30:50Well, look,
30:51It doesn't matter.
30:51You know what I'm saying?
30:52I turn off the phone
30:53because otherwise it's impossible.
30:57But who gave them
30:58This phone?
31:00I,
31:00I gave it to him,
31:01It was in case there was
31:02an emergency.
31:08Leave me alone,
31:09Pussy,
31:09no,
31:10fuck.
31:12But who was Roberto?
31:14My mother.
31:15I can't go on like this,
31:16Lucia,
31:16I can't go on like this,
31:17My chest hurts,
31:18I'm going to have a heart attack.
31:19Those are gases.
31:19Where did you eat?
31:20But I haven't eaten,
31:21I haven't had time.
31:22Look, Lucia,
31:22I admit it,
31:23You've won the job for yourself.
31:24You're better at this,
31:25You have a gift.
31:26No,
31:27I'm not coming back.
31:28Oh ok,
31:28That's why I'm telling you
31:29that you tomorrow...
31:31As?
31:31Roberto,
31:32I've been happy today,
31:33I've been very comfortable.
31:35Can you believe it?
31:35I've left my phone behind.
31:36I've been at home and haven't missed him?
31:37Clear,
31:38We're screwed.
31:39That's why they've been...
31:39everyone calling me.
31:41Have you seen the funeral home?
31:41What have they put down?
31:42Yeah,
31:43I'm going there headfirst.
31:44Well, I've been thinking
31:45And I've realized
31:46life is short
31:47and that we should enjoy it,
31:49that I've had all my life
31:50doing what they're supposed to
31:51that needs to be done.
31:52And I'm about to turn 30.
31:54and well,
31:55Well, I don't have it.
31:56Things are very clear.
31:58And couldn't you have thought of that?
31:59at another time?
32:01So,
32:02since I have a little money saved
32:03I'm going to take
32:03a few months of vacation.
32:05Hey, hey, hey,
32:05Wait, wait, wait.
32:06What should I do?
32:07Well, that's what you're doing.
32:08Besides,
32:09My father is happy with you.
32:10No, no, no, no, no, no, no, no.
32:12Lucia,
32:13Let's see,
32:13You're going to work tomorrow.
32:15No,
32:15I'm going to leave
32:16a week in Istanbul.
32:18Istanbul?
32:18Yeah.
32:19Don't mess with me.
32:20And furthermore,
32:20tonight
32:20We're going to go for a drink.
32:22We look like epiblas.
32:23We never go anywhere.
32:26Look, Álvaro,
32:26because we have confidence
32:27because we're like family,
32:29I'm going to tell you something.
32:30Natalia
32:31will be taking the pill,
32:32but with a bad memory
32:34that has
32:34the least expected day
32:35You'll get her pregnant.
32:36Hey, me neither...
32:37No no,
32:37if nothing happens.
32:38The important thing is that there is love.
32:39And speaking of everything,
32:41like your family
32:42He has a lot of money
32:43and you will have to bleach
32:44I know that,
32:46I'm going to tell you
32:46three words.
32:47Pigeon,
32:48Urban,
32:49Fashion.
32:50You put up the money
32:50And I provide the talent.
32:52We started with three boutiques.
32:53One here,
32:54another one in Marbella
32:54and another in Benidorm.
32:55and we hit the jackpot.
32:59Yes, well...
33:00It's very interesting.
33:02But I
33:03I'll get up early tomorrow.
33:03and I have...
33:04Look, just a moment
33:05that I'm going to teach you
33:05some drawings I've made.
33:10Listen,
33:11I have a feeling that his wife
33:12It is being done
33:13a slightly misguided idea.
33:14Do you like breasts?
33:15from my daughter, huh?
33:17Well, I think
33:18I'm going to leave.
33:18No, no, no, wait,
33:19me too
33:19I'm going to tell you
33:20three words.
33:22Are
33:24a bastard.
33:25Dad, the soup.
33:26I don't want any more soup.
33:27A pleasure, truly.
33:29A pleasure.
33:29Wait, where are you going?
33:30Thank you so much.
33:31Thanks a lot.
33:31Okay, whenever you want.
33:32You know where we are.
33:35Mr. Cuesta,
33:36that they are going to close the funeral home
33:37and you have to go
33:37to steal the dead man.
33:38Fuck.
33:39And who is this?
33:40But why is he leaving?
33:41What did you say to him?
33:42You'll see.
33:43when Natalia arrives.
33:44I don't want to know anything.
33:45No, neither do I.
33:46Emilio, back to our business.
33:47Wait.
33:54A boutique
33:55and a chalet,
33:56even if it's in two doses.
33:58Is that too much?
33:59What to ask of life, or what?
34:00When I have a girlfriend
34:01I'm not bringing it here
34:02No way.
34:03Emilio,
34:04You have a copy of the key, right?
34:05Yes, yes,
34:05But if these haven't changed
34:06the lock.
34:07If with this key
34:08I used to steal the movies
34:08from the video store.
34:09The thing is, I
34:10I don't have a video.
34:12Well,
34:13We are sure
34:13about what we're going to do, right?
34:15Look,
34:15I'd do anything as long as my mother
34:16I let myself be bothered
34:17with the funeral home
34:18I'll do anything.
34:19Mr. John,
34:19I am a goalkeeper.
34:20I for work
34:21of the teletrobronillo
34:21out
34:22I charge a supplement.
34:23You will do as you are told.
34:25Okay,
34:25Everything is clear now.
34:30Stay tuned, it's coming out soon.
34:32Emilio,
34:32Let this be the last time
34:33that takes the samples
34:34shampoo
34:34from magazines
34:35that they leave in the mailboxes.
34:36The temptation, Mr. John,
34:37if it was a two
34:37in one of those
34:38with a fabric softener
34:39And of course...
34:39It's a disgrace, man.
34:42Hello, Belén.
34:42Hello, what's up?
34:43Hello.
34:52We need to hurry.
34:53I've arranged to meet, okay?
34:54This is the plan.
34:55Both of you
34:55enter through a body
34:56And I'll stay
34:57keeping watch at the door.
34:57Okay, what if someone comes?
34:58How does it notify us?
34:59Three quick punches
35:00Someone is coming.
35:01Two fast ones
35:01and a slow one
35:02Someone is coming
35:02but it passes by.
35:03Two slow ones
35:03and a quick one
35:04and two other slow ones
35:05everything clear.
35:05I didn't find out.
35:06you are welcome.
35:07Well, what does it matter?
35:07Let's go inside.
35:08If someone comes, whistle.
35:09I don't know how to whistle.
35:10Why do you think you
35:10Who hit?
35:12Come on.
35:22Here it comes
35:23Miss Rottenmeier.
35:25How's it going at the office?
35:26Lots of atmosphere?
35:26So you know
35:27I love my job.
35:28It's the first time
35:30I have the feeling
35:30of helping people.
35:32But they're dead.
35:33To the family members
35:34I comfort them,
35:36I comfort them
35:37And I'm not bad at it at all.
35:39I'm a good psychologist.
35:40Today my boss
35:41It has made me this way.
35:42And?
35:43That the person in charge
35:44from the burger
35:44in two months working
35:46He just did this to me.
35:48I'm so happy
35:49What am I going to do?
35:49peace with Emilio.
35:51Have you continued to see him?
35:52No no.
35:53We've broken up.
35:54So you two were dating.
35:55No, because he left me.
35:56What did he leave you?
35:58No.
35:58What did Emilio leave you?
35:59No no.
36:00No, it's not.
36:00is misrepresenting
36:01what I'm telling you.
36:02Emilio left you.
36:04You can't sink any lower.
36:08Pussy,
36:08with the beautiful
36:09that day.
36:10Fuck.
36:10Fuck,
36:11That's intense, Emilio.
36:21There.
36:28Quickly, quickly.
36:30We went to pick
36:31What else weighs, damn it.
36:32Where did we leave it?
36:33Where are we going to leave it?
36:34In goal.
36:35But how in goal?
36:35A little bit of please.
36:36Emilio,
36:37because nobody will see it there.
36:38What do you mean, no?
36:38I'll see it.
36:44There.
36:48It's perfect here.
36:49Yeah.
36:50So what do I do now?
36:51Should I turn on the TV for a while?
36:52Think about what you're doing
36:53something good for the community,
36:54man.
36:54Tomorrow they'll report those people.
36:55And goodbye funeral homes.
37:02The little night
37:03I'm already here
37:03now with my cousin.
37:05If it's really true
37:07bad vibes,
37:08please.
37:10Emilio.
37:14What's happening?
37:15Can we talk?
37:15Of course.
37:16What's happening?
37:22Come on,
37:22Everything is sorted now.
37:24Let's go inside
37:25I'm very happy.
37:26No, no, no, no.
37:27No, Belén.
37:28Wait, wait.
37:29But this is very rushed, isn't it?
37:30But what do you mean, rushed?
37:31If you've been there a week
37:32asking me to come back to you.
37:33Okay, fine then.
37:34Let's go to the movies.
37:34Let's celebrate at the movies.
37:35To the movies.
37:35No?
37:36To the movies, Belén.
37:36No?
37:37First things first.
37:39Then we'll go wherever you want.
37:40Nativity scene.
37:41That you cannot pass.
37:43But why not?
37:44Because I'm with someone else.
37:46Come on, Emilio.
37:47Bethlehem, no.
37:48Nativity scene.
37:49Oh, Belén, no.
37:52What is this?
37:53This,
37:54These are
37:56here
37:56I'm leaving
37:57during the White Week.
37:58I hadn't told you.
37:59that I was leaving.
38:03Who is Mr. Navarro?
38:05But to have stolen
38:06a body from the funeral home?
38:07No, no, no.
38:08But I haven't done it alone.
38:08They only
38:09They are a messenger.
38:09This was the idea
38:10from Mr. Cuesta.
38:11You have to take
38:12this immediately
38:12from here.
38:13Oh my God.
38:14That I'm going to finish
38:15unemployed
38:16And you're in jail.
38:17Damn, well, like
38:17to start a family.
38:19Hey, Belén,
38:20I think it's better
38:20Let's break it off again, shall we?
38:22But that's for later.
38:23It's the one with the zipper.
38:24Oh my God.
38:28Hey, where did we leave off?
38:29Where are we?
38:30Where are we going to leave it?
38:32Yes, someone is coming.
38:32Someone is coming.
38:33That?
38:34Cubed.
38:35Cubed.
38:35Cubed.
38:36To the green, to the green.
38:37What a wig, Marta!
38:38Run, run.
38:39Cira!
38:41Hello, couple.
38:42Hello.
38:43That?
38:43Would you like to come for a drink?
38:45No, not at all, thanks.
38:46We're exhausted.
38:47Yes, yes.
38:48So much love
38:48You're all exhausted.
38:51Well, Ala,
38:51Enjoy life,
38:52which is two days.
38:53Yeah.
38:55Tell that to him.
38:57Oh my goodness,
38:58It's almost here.
38:58Hello.
38:59Hey, where are you going?
39:01They keep the trash.
39:02What is this?
39:03Meet these people
39:04who throws away anything.
39:05Yes, here.
39:06Already.
39:11But what's going on?
39:12What have you become?
39:13completely crazy?
39:15But how did you come up with that?
39:16Stealing a dead body?
39:16So that they can report it
39:17to the funeral home
39:18And that's how they close it.
39:19Ah, very good, yes.
39:21And then what do you think?
39:22what to do with the body?
39:25Man,
39:26every plan has
39:27its weak point.
39:27Well, I don't want to know.
39:28none of that weak point.
39:30You're going to end up
39:31everyone in jail.
39:32Besides,
39:32Didn't you stop?
39:33to think that for once
39:34I have a job
39:35that I like,
39:36because of you
39:37Can I lose it?
39:38I don't care about that.
39:39But the thing about going to jail
39:40It worries me.
39:42And haven't you thought
39:42also in the family
39:43of that poor man
39:44that will be suffering
39:45And having a bad time?
39:46We're just ashamed
39:48playing hide and seek
39:49with her body.
39:50Man,
39:50It's that, put like that
39:50It sounds really bad.
39:52This one who is a lawyer
39:53and turns everything around,
39:54man.
39:54Let's see,
39:55Indeed, that's what we've done
39:56It's not right.
39:57We've rushed things a bit.
39:58A bit?
39:59Mr. Cuesta,
40:00We're going to give Mr. Navarro back.
40:01Now that we still have time,
40:02What are we going to eat?
40:03a curious brown.
40:04Come on, come on.
40:05But now,
40:05But now.
40:07Juan!
40:09Where did you leave it?
40:10Here,
40:10in the trash can.
40:11And the trash can?
40:12Oh, my goodness,
40:12What happened to the truck?
40:13What do you mean the truck has passed by?
40:14The dead man is not here,
40:15that they have taken it away.
40:16Oh, but how could they not have noticed?
40:17The machine empties the buckets.
40:18The garbage collectors don't even know.
40:20Oh, my God.
40:21Well, we need to get our bodies back in shape.
40:22But what for?
40:23To make meatballs
40:23and the trucks have crushers.
40:25Do you see it, Juan?
40:25We should have put the boutique in.
40:27Okay, so what do we do now?
40:28I don't want any trouble.
40:29I'm going to turn myself in.
40:30You, stay here quietly.
40:31Well, he's coming tomorrow.
40:32the family of that gentleman to the wake.
40:34Are you telling me that I teach them?
40:36Nothing.
40:36You have to convince them
40:37that they incinerate.
40:38And if you want to see it,
40:39Well, you show them an urn.
40:40What if they need ash,
40:41Am I here?
40:42My God.
40:45Yes, one meter eighty-two tall,
40:46with two days' beard,
40:47dark-haired, very handsome.
40:49Something must have happened to him.
40:50Oh, it's here already.
40:52It's already here.
40:53Thank you so much, and sorry, okay?
40:54Thank you, officer.
40:55But where had you been?
40:57Have you called the police?
40:58Man, if you tell me
40:59that you're going to take out the trash
41:00and it takes forty-three minutes,
41:01Or something has happened to you,
41:02Or are you cheating on me with someone else?
41:04And in either case
41:05We're going to need the police.
41:06Mauri, we can't go on like this, okay?
41:07In other words, you can't be there all day
41:08thinking that something bad is going to happen.
41:10I know I can't think about it,
41:11But I think about it.
41:12Fernando, we're just like a steak
41:13outside the refrigerator.
41:14It's our destiny
41:15It's about breaking down.
41:16Okay, calm down.
41:16This has caused you to do this
41:17to the funeral home downstairs.
41:18And that's it.
41:19It's going to disappear.
41:20How do you know?
41:21Well, I know.
41:23The neighbors who have started
41:25and they have stolen a body.
41:27And what have they done with him?
41:29So, to sum it up,
41:30The garbage truck took it away.
41:32Don't ask.
41:32The thing is...
41:35Ah...
41:36Hey, if something happens to me,
41:37I'd rather be cremated, okay?
41:38No, don't worry,
41:39that will be a long, long time from now,
41:41a long time.
41:44You should really get that mole checked out, huh?
41:48Dad, Mom!
41:51He already knows.
41:51I'm going to the bathroom.
41:52You stay still.
41:53Stay right there, stay still.
41:53Álvaro just called me
41:54and he broke up with me.
41:55Can you explain what happened?
41:57Well, darling,
41:58We couldn't have been nicer to him.
42:00Yes of course.
42:00And that's why Dad tells him
42:01He's a bastard
42:02And you have asked him
42:03that he gives you three boutiques.
42:04That has not been the case.
42:05Juan, tell him how things have been.
42:07I was eating soup.
42:08Besides, who are you going to believe?
42:09To a stranger
42:10or your parents?
42:11You need to respond.
42:12Natalia, that very old gentleman
42:13It wasn't good for you.
42:14But why do you have to decide?
42:15What's best for me?
42:16Because I am your mother
42:17and that's it.
42:18And as long as you live under this roof
42:20You will do as you are told.
42:21Hey?
42:21And that's how it's explained.
42:22Everything is very clear.
42:25I understand it.
42:27Look, well that's going to leave
42:28of being a problem
42:28Because I'm leaving this house.
42:30Natalia isn't either...
42:31Leave her alone, Juan.
42:32Leave her alone, she's bluffing.
42:34Where will it be better?
42:35What about their parents?
42:36Hey?
42:37Oh, look at this design.
42:39We could copy this one, Juan.
42:41because it belongs to an Italian
42:41And he won't find out anyway.
42:49I don't know anymore.
42:51The alarm clock.
42:52Yes, darling.
42:53Yes, I've heard it before.
42:56I'm not going to work, okay?
42:57Oh, me neither.
43:00Okay.
43:01Deal with your conscience.
43:03You deal with your own problems.
43:06Fuck.
43:08Really?
43:09You're amazing.
43:11Then don't go.
43:12Come on, don't go.
43:12We're going to take a plane
43:13And we're going to Istanbul.
43:15And on and on about Istanbul,
43:16But Lucia,
43:16that we have a responsibility,
43:17because we're not kids anymore.
43:18Well.
43:20I look older, huh?
43:21You've lifted your tie
43:22at the head.
43:23But you have to grow up,
43:24We're getting married, damn it.
43:25Okay, honey,
43:26about getting married,
43:28Calmly, okay, my love?
43:29No stress.
43:30Let's see, let's see, let's see, let's see.
43:31Hey, I already told him.
43:32to everyone.
43:33My mother is already on a diet,
43:34that my aunt is having the dress made
43:36and that my grandmother is so happy
43:37who has let go of the cane.
43:38Okay, whatever you say.
43:39that there is no wedding,
43:39He picks it up again
43:40and he smashes it on my head.
43:41Relax, my love, okay?
43:43You have to be happy, my darling.
43:46What, what?
43:49Look, I'm leaving because I'm late.
43:50But then you and I
43:51Let's talk seriously.
43:52Okay.
43:59Yeah.
44:00Yes, I'm coming, damn it.
44:03Well, tell the councilman
44:04go have a drink.
44:08Well, can we know?
44:15Where were you?
44:15The widow is about to arrive.
44:17This one that's already throwing
44:17an hour in the bathroom.
44:21Eduardo,
44:21Can you step out for a moment?
44:23please?
44:25You have to entertain
44:26quite a while.
44:27Yes, yes, don't worry.
44:28We are retired
44:29and our specialty
44:30It's about entertaining people.
44:32Yeah.
44:34These ladies
44:35who have insisted
44:36in dealing with you directly.
44:38Of course.
44:39How can I help you?
44:40Well, look,
44:40we, as we have
44:41already an age,
44:42we wanted to find out
44:43a bit
44:44What is this about?
44:45Oh ok,
44:46If you would be so kind
44:46They sit around here
44:47And right now...
44:48No, yes, we want to see
44:49the facilities,
44:50embalming above all.
44:52It's for makeup
44:53I am very much my own person.
44:54And the crematorium oven,
44:56How many degrees does it reach?
44:58About 1,300.
44:59Yeah.
44:59There are the cakes
45:00They have to go up right away.
45:02Ah.
45:04Oh, what a smile!
45:05She's so beautiful.
45:06It seems unbelievable.
45:06that he works here.
45:07Oh, what a smile.
45:08I don't mind.
45:08Ladies, ladies.
45:11Ladies.
45:11I'm staying here.
45:15Come, come,
45:16The widow is here.
45:17Give me a catalog.
45:19Are you going to stay here?
45:20Yes, yes,
45:20I'll help you convince her.
45:21I arrive as a customer.
45:22No, no, you're leaving.
45:23It's coming in, it's coming in.
45:24Oh, good morning.
45:27We're here.
45:28Oh, how are you, Mrs. Navarro?
45:30Evil.
45:31Very badly.
45:32Oh.
45:33These are my sisters
45:34and my daughter.
45:35Nice to meet you.
45:36Is the wake ready yet?
45:37Yes, yes, yes.
45:38Can we see my husband?
45:40Yes, but sit down for a moment.
45:42This is very fast.
45:44while they prepare the little body
45:46and they put the little flowers on it
45:48And this.
45:50Oh.
45:50Have you thought about it?
45:51in the advantages
45:53of incineration?
45:54No.
45:55The truth is, we don't like it very much.
45:57We for this
45:58We are very traditional.
46:00Well, it's the cleanest option.
46:01the most environmentally friendly
46:02and the cheapest.
46:03Yes, I'll attend to you now, sir.
46:04I, in fact,
46:05I have cremated my entire family
46:06and with what I saved on the niche
46:08I went on a trip to Aurodigny.
46:09Sir, will you let me work?
46:11Oh, sorry, sorry, ma'am.
46:12I share your feelings.
46:13Oh.
46:14No, don't worry.
46:15Look,
46:16We are in favor
46:17of a normal burial,
46:19the one from back in the day.
46:20But with how expensive it is
46:21that is the ground.
46:22Uh, ma'am, sorry.
46:23And her husband
46:24What type was it?
46:25From Madrid.
46:25Because?
46:26Man, because there are some here
46:27a perfectly nailed urn
46:28to the Champions League Cup.
46:29Mister,
46:29I'm going to have to ask him
46:31strongly
46:31that breaks out of stability.
46:32No, no, no, sorry, sorry, ma'am.
46:33I share your feelings.
46:36Don't cry.
46:37The Champions League Cup is here.
46:39Too bad.
46:40Too bad.
46:40Oh.
46:41Let's see,
46:42You haven't worked for a day.
46:43And you've sat down well.
46:44What's the problem?
46:45Well, I feel guilty, Alicia.
46:47It's like...
46:47as if there were a lack of class.
46:48And what was wrong with that?
46:49skip class?
46:50No no.
46:51Nothing, nothing.
46:52You have to learn
46:52Have fun, aunt.
46:53When you got here
46:54I really disliked you.
46:56I?
46:56Because?
46:57So perfect,
46:58so hardworking,
46:59so responsible,
47:00with your little apartment,
47:01your boyfriend.
47:02I wanted to kill you.
47:03Excuse me, miss.
47:05But I see something
47:06of hope for you.
47:07Oh, really?
47:08Just listen to me.
47:09What are you talking about?
47:09with a true expert
47:10of leisure.
47:11There's no need to feel guilty.
47:13Having fun is much harder
47:14than to work.
47:15And on top of that, it's paid worse.
47:16Yes indeed.
47:17You fancy going to Istanbul, don't you?
47:19Well, talk to Roberto
47:20And you leave.
47:20But I already told him,
47:21But he can't.
47:22I've been struck by the yuppie syndrome.
47:23Well, go by yourself.
47:25I?
47:25But how do I get there?
47:26Are you going to Istanbul alone?
47:27Or better yet,
47:27Invite me.
47:28Hey, Alicia.
47:30I don't know, either.
47:30Trips need to be planned.
47:32Choosing the right hotel.
47:33No, mistake.
47:34The real idler
47:35He doesn't plan, he acts.
47:37Put in four rags
47:38in a bag
47:38and to the airport.
47:40Yeah.
47:42I don't know.
47:43What I do?
47:44Go away.
47:45Oh.
47:50Ah, Juan!
47:50What is known?
47:51What is known?
47:52Nothing, nothing is known.
47:53This scandal
47:54It's going to cost me my job, Paloma.
47:55Juan, Juan.
47:57Can we know?
47:58what I was doing yesterday
47:58The dead man in the bucket?
47:59Hush, hush, hush.
48:00What a mess.
48:01He took it away
48:01the garbage truck.
48:02No way, man?
48:03I took it.
48:03You?
48:04And what for?
48:04So you don't take it away in the truck.
48:06I hid it in Emilio's closet.
48:08Come on.
48:08It needs to be returned
48:09before the widow arrives.
48:10Come on.
48:11No, it happens, it happens, it happens.
48:12You go ahead, you go ahead.
48:13Oh, poor Emilio.
48:14Excuse me, but please don't insist anymore.
48:16My husband's last will and testament
48:18It was that we should bury him in his village.
48:20And that is sacred to us.
48:22Very good.
48:23But I warn you
48:24that between the transfer,
48:26the rental of the niche
48:27for ten years,
48:28the coffin,
48:29the flowers,
48:29obituaries
48:30and maintenance,
48:31We're talking
48:32around
48:33of about 5,500 euros.
48:38Although I believe
48:39which also on some occasion
48:40He mentioned incineration,
48:42TRUE?
48:43Very good.
48:46Cremate Mr. Navarro,
48:47please.
48:48Man,
48:49But before
48:49We wanted to see it.
48:50Oh, I had it in mind.
48:51that should have been said earlier.
48:52This is totally
48:54computerized
48:54and it's a matter of seconds.
48:56You don't say.
48:56Look,
48:58It just arrived
49:00through the elevator.
49:02Here is your husband.
49:05I don't notice that yet
49:06that burns just the same.
49:07But it is physically impossible
49:09that...
49:10Good morning.
49:12We bring Mr. Navarro.
49:14What do you mean, Mr. Navarro?
49:17Well,
49:18Let's see
49:18If we're clear on this.
49:21Where are you?
49:22Did they have my husband?
49:23On the second floor.
49:24Hairdressing section.
49:25It's a very large company.
49:28And then?
49:30What have they brought me here for?
49:31Who is it?
49:32This is...
49:33is...
49:34is...
49:34a gentleman
49:35that they haven't come for him
49:36and...
49:37And we had it here as an example.
49:39Hey...
49:39Nativity scene,
49:40What's going on here?
49:42That's exactly what I say.
49:43This is a disgrace.
49:45I'm going to report them all.
49:47Wait, ma'am,
49:47I beg you.
49:48There has to be something, surely.
49:48an explanation.
49:49I certainly think so.
49:50And they're going to give it to her.
49:52immediately to the police.
49:56Nativity scene,
49:58because
49:59Are the neighbors here?
50:01Nativity scene,
50:02Can you explain?
50:03What's going on here?
50:04Well,
50:05We'll leave it here.
50:05And you'll take care of it.
50:07Hey?
50:21Well,
50:24Just a moment,
50:24Just a moment,
50:25Hey?
50:26Listen,
50:26Just a moment.
50:27Speak one at a time,
50:28please,
50:29Otherwise,
50:29We didn't find out.
50:30Let's see what happens.
50:31That this site
50:32It's a disgrace.
50:33Excuse me, madam, but I assure you that this is a very serious company.
50:35and that, of course, he will not remain in this property for a single day longer.
50:39The only shameful thing here is the audacity of these people.
50:42who have been able to steal a body from my premises
50:45for who knows what that was all about, end.
50:47You speak so well, damn it.
50:48The university's influence is evident.
50:50Look, officer, they lost the body and we found it and returned it.
50:53Our security camera will prove that's a lie.
50:56What? Was there a security camera?
50:58Well, I'm leaving, I have plans.
51:00That's a bluff, Mr. Juan. What would be the point of having a security camera in there?
51:02In case a dead body escapes.
51:04And if the recording wasn't sufficient as evidence, we would always have the testimony of our employee Belén.
51:09No, but Belén is our neighbor, she's not going to testify against us.
51:13If I keep my job, I'll declare whatever is necessary.
51:15I want to report this company immediately.
51:18And I want to denounce this community for theft and vilification.
51:21And who do we report?
51:22Come on, police station, come with us.
51:24You too.
51:25Oh, you again, Juan!
51:26Mr. Cuesta, you look like a lute, walk or burst.
51:28I reiterate my innocence and have full confidence in our judicial system
51:32who defends honest citizens like me.
51:34And I say this without malice, okay? But I say it.
51:37He won't shut up until we arrive.
51:38I'm getting in the car right now and heading over there.
51:41No, no, no, no. Don't move it, it's parked fine.
51:43Don't worry, Paloma.
51:45He'll be right back, can't you see he's been spotted?
51:47No, I'm going to the police station. I won't leave my Juan alone.
51:51Hey, Belén, what you told me last night about wanting to get back together with me and all that...
51:55Forget about me, okay?
51:57Okay, I'll forget about you.
51:58But we'll meet at the goal; this math teacher's light turns me on...
52:01Emilio, you bore me, you bore me.
52:03Well, but love conquers all.
52:04Can't you see it's in the air?
52:06Belén, tell me something.
52:08Nativity scene!
52:15What a day, what a mess it's been.
52:17Well, Juan, but the important thing is that the funeral home people are leaving.
52:20But why has that judge singled me out like this?
52:22600 euros fine for misappropriation.
52:25Do you see what a dead man wants to hear?
52:26Don't worry, the community will pay for this.
52:28We put in one of the branches and that's it.
52:29Hey, Natalia has given me a tip for you guys.
52:32Which?
52:34And that she has left home.
52:35What, has she left home and where has she gone?
52:36He's with the two sluts upstairs.
52:39You have to pay me the rent.
52:43Natalia!
52:45Natalia, open up!
52:49Sorry.
52:51Natalia asks me to inform you that she is no longer under your roof and to leave her alone.
52:54Well, tell him the roof is the same, because he hasn't changed buildings.
52:57Correct.
52:58Natalia, I'm no longer speaking to you as a father, but as the president of the community.
53:03You have five seconds to get out.
53:04One, two, three, four, five, six, seven, eight, nine.
53:19Calm down, man, calm down.
53:21Okay, what happened?
53:22Ten, eleven.
53:24But let's see.
53:25Twelve.
53:26What do you mean they took a small table from the show flat?
53:28Fourteen.
53:30Of course, damn it.
53:31We need to keep an eye on the customers, please.
53:34Yeah.
53:35No, no, wait a minute.
53:36I'll call you now, because I'm getting a call on the other end.
53:39Fuck.
53:41Yeah.
53:43Hello darling.
53:44Lucia?
53:45Yeah.
53:46What are you doing?
53:46Where are you?
53:47In Istanbul, my love.
53:48I'm in Istanbul.
53:49That?
53:50I left you a note on the fridge.
53:53Ah, yes.
53:56But it says here, I've stepped out for a moment.
53:58Yes, I just felt like it and came, darling.
54:01Hey, wait a minute, okay?
54:02No, no, no.
54:03Listen, very expensive, very expensive.
54:05Gal and Catir.
54:06Honey, I'm buying a rug.
54:08Oh, really?
54:08What color?
54:10But hey, what do I care about the color?
54:12Lucia, have you gone mad?
54:14I'll be back next week, okay?
54:15I've already bought you a little gift.
54:17But, Lucia.
54:18Honey, I'm hanging up.
54:19What is it, are they going to take us to see the Sun Mosque and...
54:21Hey, hey, hey, hey.
54:22Be careful with the guides, okay?
54:23I've seen Turkish passion and that rhymes better than Juli.
54:26A little kiss, my love.
54:27A hotback.
54:28Oh, I'm happy.
54:29As?
54:35I am happy.
54:37And what about me?
54:37What do I care?
54:43Man, Rafael.
54:45What have you done to my daughter?
54:47As?
54:48He just called me saying that he's not going back to the company in Istanbul.
54:50But what is there to see in Istanbul?
54:52Istanbulense, what do I know.
54:53Hey, you didn't get her into drugs, did you?
54:54Man, please, no, no, no, Rafael.
54:56Do you smoke joints?
54:57I'm your father-in-law and you can tell me.
54:59Then I'll kill you, but you can tell me.
55:01But no, man, no.
55:03He told me that he doesn't know what he wants.
55:04Man, he's with you.
55:05It's clear he doesn't know what he wants.
55:07Listen, it's your fault for exploiting her in that hellhole of a job.
55:10No, it's your fault because you're mediocre and you've infected her.
55:13But hey, didn't he say he was very happy with me?
55:15Am I happy?
55:15But you're useless.
55:17Hey, say it a little louder, the people downstairs couldn't hear you.
55:20Yes, yes, we've heard it.
55:23Roberto, because of you I have lost my daughter.
55:25No, it's because of him that I lost my girlfriend.
55:28Give me a hug.
55:30Of course.
55:35He'll be back, won't he?
55:36I don't know, I'm just saying.
55:38Roberto, I want you to know that for me, the most important thing is my daughter's happiness.
55:42And if she loves you, I love you too.
55:46Oh, by the way, you're fired.
55:49Oh!
55:51Thank you so much.
56:00521, 522, 523, 524.
56:05Here, I'll make you a sandwich.
56:06Oh, thank you, daughter.
56:10525, 526, 527.
56:14Juan, Juan, I don't think he's going to get out, huh?
56:16Leave her be, she'll realize what she has at home.
56:19I think he's already realized it.
56:21Oh, I can't remember what I wanted to tell you.
56:23Ah, yes, I was just thinking that now that the premises downstairs are available...
56:28Yes, Paloma, we'll open the boutique.
56:31Oh, urban fashion, huh, my love?
56:33Urban fashion.
56:34What is that?
56:35Because I tell you this a lot, but I don't know what urban fashion is.
56:38Well, urban fashion.
56:39What I am: modern, urban, talented, and stylish.
56:44I've made some drawings.
56:45Not here, not here, not here.
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