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00:00Este es el programa de televisión con mayor auditorio en todo el mundo de habla hispana.
00:07El programa humorístico de mayor prestigio en el mundo entero.
00:12Este es el programa Chespirito.
00:16Con Florinda Mesa.
00:19Rubén Aguirre.
00:21Edgar Vivar.
00:24Anabel Gutiérrez.
00:26Boisé Suárez.
00:29Eisaura Espinosa.
00:32Dirección de cámaras, Roberto Gómez Fernández.
00:36Libreto y dirección general, Roberto Gómez Bolaños.
00:49Buenos días.
00:58¿Hay alguien en casa?
01:29¡Arriba las manos! ¡No se mueva!
01:34I'm sorry, Mr. Cecilio.
01:36¿Le pasa algo, Sargento?
01:39Nothing, Mr. Cecilio. I was doing my rounds when I realized that the hotel door was open.
01:44And you had told me that the hotel was going to remain closed.
01:47You are absolutely right, Sargento.
01:50Look, there was a need to make multiple repairs to the electrical system.
01:55And it is assumed that it would take you two full days to do it.
01:59But what do you think?
02:00What?
02:01You finished in half a day.
02:03Come on.
02:04Does that mean that the repair was less complicated than what you had assumed at the beginning?
02:09No, no, no. You are wrong.
02:11The repair, the work, was more or less complicated than planned.
02:16So?
02:19Today the employees' inn is being celebrated in the company that did the work.
02:24Come on.
02:25So, when it is convenient for you, you can do the work in less time than you usually use.
02:31You said it.
02:34Listen.
02:35Yes?
02:36But anyway, I noticed.
02:38And on the door is still the sign that says, closed for repairs.
02:42Well, yes.
02:44I'm going to take the opportunity to do the same thing that the electricians did.
02:48What?
02:50I'm going to organize the employees' inn here.
02:55Are you serious?
02:57Of course.
02:59And of course, you are cordially invited, Sergeant.
03:02Well, that's a nice surprise.
03:06We're here, Mr. Cecilio.
03:08Look, what do you think?
03:10Very good, Botija, very good.
03:12I hope I have reached the money I gave you.
03:15Why do I tell you no?
03:17Oh, but let's see if someone gives me a hand with this.
03:19Let me, Chimotruquia, let me.
03:21Oh, it's that ...
03:22Leave your weight.
03:23Well, look, how do you think ...
03:24Let me warn you.
03:25It is that we are missing.
03:26Let me warn you.
03:27Be careful.
03:28Be careful, Chomper.
03:29Please, make a side.
03:30Yes.
03:31No, no, no.
03:32Go this way.
03:33No, no, no.
03:35Let's see if he didn't break something.
03:37No, no, calm down, Mr. Cecilio.
03:38There is nothing that breaks.
03:40It is that there we only bring the lanterns and the things to hang.
03:44That's it, that's it.
03:46Good thing the piñata was carrying the bottle, not the chomper.
03:49No, yes, because without a piñata there is no inn.
03:53You have said it and for the doubts.
03:57And you know what, Mr. Cecilio?
03:59I have not had the opportunity to congratulate you.
04:02No, it's nothing, Chimotruquia.
04:04Oh, how not, man.
04:06It is the truth.
04:07Look, anyone else would have done the same as me.
04:10No, anyone else would have given me more money than you to buy things.
04:14I mean, let's not be stupid.
04:16You already know that I, as I say one thing, I say another.
04:19Well, look, I can't reach more than for peanuts and tangerines and the rest.
04:24I mean, if it's like everything, there are things that I don't even have, I'm not right.
04:28I guess so.
04:30Well, but then why, why did you want to congratulate me?
04:33For the kind of employees you have.
04:36I mean, it's not easy to find a waitress who, apart from being a leather,
04:41let's also be smart, service, hardworking, honest and fulfilled.
04:46And modest.
04:47Come on, that's what I was missing.
04:50Look, Chimotruquia, I don't want to get into what I don't care about.
04:54Do well, Sergeant, there is nothing worse than people who are meticulous.
04:58Well, if I'm going to get into what I don't care about.
05:01Meticulous.
05:02What I mean is that it is not easy to find a boss who is willing to spend his money
05:07in making a inn for the employees.
05:09The sergeant is right about that.
05:12Because look, Chimotruquia, one thing is that we are efficient and hardworking employees.
05:18And another thing.
05:19John, you see, he didn't bite his tongue.
05:22Why?
05:24Because he is saying that you are also an efficient and hardworking employee.
05:31Take it!
05:32For the kind side.
05:35You know what?
05:36You know what?
05:37We better put all the lanterns and decorations before Mr. Cecilio regrets it.
05:42Wow, that's the only sensible thing I've heard that night.
05:46Well, let's go.
05:47Well, here you have Chimotruquia.
05:48I'm going to keep doing my round, but at night we'll see each other here.
05:52What do you mean here?
05:53I wasn't going to help you.
05:54Well, I'm going to work.
05:55And at night you just come to help eat.
05:57Well, they didn't take me away from me.
05:59Be careful, my love, don't go too far.
06:01Look, I'm going to help you.
06:04This way.
06:23Another one.
06:27Another one.
06:32Another one.
06:34Another one.
06:37Another one.
06:45Another one.
06:51Another one.
06:56Another one.
07:05You're such a fool.
07:08And how's everything going?
07:10Almost good, Mr. Cecilio.
07:12Oh, but you know what, Mr. Cecilio?
07:14The piñata is so pretty that it's a shame to think that it's going to break.
07:18Well, that's what piñatas are for.
07:21To break them.
07:23But you have to be very careful not to break it ahead of time.
07:29You should know that without piñata there is no inn.
07:34Yes, but you don't stop worrying that I'll take care of that.
07:38Good.
07:39Hey, Chompiras.
07:42Chompiras.
07:44Chompiras.
07:46Chompiras.
07:47Chompiras!
07:49What do you have?
07:51It's called espantazuelas.
07:53I know what that artifact is called.
07:56What I'm asking is why the lack of respect.
07:59No, no, it's not a lack of respect.
08:01What happens is that I'm already impregnated with the Christmas spirit.
08:05I mean, take it on the kind side.
08:08Okay, okay, okay.
08:10And there I leave you the piñata.
08:12Be very careful.
08:13Remember that without piñata there is no inn.
08:17Okay.
08:19Good.
08:22Chompiras.
08:23Can I know what this soda box is doing here?
08:27Why do you ask?
08:29It's getting in the way.
08:30Oh, I know what that box is doing there.
08:33What?
08:34It's getting in the way.
08:36Chompiras, you're the most cynical guy I've ever met.
08:40The most what?
08:42Cynical.
08:43Oh, yes, yes.
08:44Yes.
08:45But then what?
08:46Well, take it and put it on the table.
08:48Okay, okay.
08:50Well, but be very careful with that piñata.
08:52You don't have to break it ahead of time.
08:54Remember that without piñata there is no inn.
09:00Okay.
09:08And what about you?
09:09What about what?
09:10Well, that's what I say.
09:11Didn't we agree that the box was going to be on the table?
09:14Oh, yes, yes, yes.
09:17Hey, but if I push the piñata and it falls and breaks,
09:21without piñata there is no inn.
09:24Well, yes, but then Diego could put the soda box on top of the table.
09:29Come on.
09:31No, no, no.
09:32On top of the sofa.
09:36Wouldn't it be better to put the piñata on the sofa
09:40and the soda box on the table?
09:43For him to see, maybe he's lying.
09:44Because, I mean, it's less risky to put the piñata on the sofa
09:47and the box on the table.
09:49Exactly.
09:51You have to think things through.
09:53Well, it's the first time you're doing it.
09:55No, wait a minute, wait a minute, wait a minute.
09:56What?
09:57What if the bottle arrives and sits on top of it?
09:59Because the bottle always sits there.
10:01You're right.
10:02No, man, don't break the piñata.
10:04No, no, so you know what?
10:05We better put the piñata on the table and put the box on the sofa.
10:09That's it, exactly.
10:13And then...
10:14The box on the sofa.
10:15No, no, no, no.
10:16Why not?
10:17What if the box arrives and the bottle arrives
10:19and sits on top of the bottles?
10:22Maybe we can even lose a bottle.
10:25Or all of them.
10:26Because, I mean, with how heavy the bottle is,
10:28it could break the whole box.
10:30That's it.
10:31So, it's better to put the piñata here?
10:34Yes, so it's better to put the piñata on the sofa
10:37and put the box on the table.
10:38Exactly.
10:39No, no, no, no, no.
10:40But wait a minute, no.
10:41Because the piñata resists less than the box
10:44and if it sits on top...
10:45That's true.
10:46So, it's better to put it on the table.
10:49No, no, no, no.
10:50But I think it's better on the sofa.
10:51On the sofa.
10:52Or who knows, on the table.
10:53On the table.
10:54Or on the sofa.
10:55Or on the sofa.
10:56No, better on the table.
10:57On the table.
10:58On the sofa.
10:59On the table, on the sofa.
11:00On the table, on the sofa.
11:02On the table, on the sofa.
11:04What happened?
11:05What happened, Chimultrupia?
11:08Well, I'm also impregnated with the Christmas spirit.
11:13Is it contagious?
11:14Come on.
11:15On the table, on the sofa.
11:17On the table, on the sofa.
11:19On the table, on the sofa.
11:21On the table, on the sofa.
11:23On the table, on the sofa.
11:25And now, what happened to him that we were going?
11:27You know what?
11:28While I was hugging the piñata,
11:31I imagined I was dancing with the bottle.
11:35What did you say?
11:38Take it for the ice cream, mother.
11:40Oh, bottle, don't get angry.
11:42What happens is that we are impregnated with the Christmas spirit.
11:45Exactly.
11:46I mean, don't you get in?
11:47No, thank you very much.
11:48I prefer to sit down and read my novel.
11:50No!
11:51What happened, what?
11:52That you were going to sit on top of the piñata.
11:55You know what?
11:56I'm better going to read my novel there in the elevator.
11:59Nobody bothers me there.
12:01Well, you.
12:03It is that if you sit, I say, without piñata, there is no thing.
12:07What happened?
12:08Have you finished?
12:12Chompiras.
12:13I told you to put this box of sodas on the table.
12:16Well, that's what I was doing.
12:18What do you think?
12:28What happened?
12:29Well, it weighs a little more than I thought.
12:33Oh, Chompiras.
12:34Don't tell me you can't carry a simple box of sodas.
12:38No, I can carry it.
12:40And the bottle?
12:41No, that doesn't even conclude.
12:43No.
12:44I'm asking why the bottle is not helping you decorate.
12:48It is.
12:49Ah, ah, ah.
12:50It is that the bottle, the bottle is decorating inside the elevator.
12:55Ah, that.
12:56Well, no, it's not a bad idea.
12:58True.
12:59Good, good, good, good.
13:02Come on, get it up there on the table.
13:05Yes, yes.
13:12That it is not more convenient to leave it here.
13:16That is, that you are not capable of carrying a simple box of sodas.
13:21Oh, I get tired of carrying the box of sodas and all the boxes they put me in.
13:26But it was not necessary.
13:27Yes, I believe you.
13:34I loaded it.
13:36Yes.
13:38It is that I already felt it.
13:54Good morning, Don Cecilio.
13:56Good morning, Sergeant.
13:57Ready for the inn?
13:59Yes, but also, look, I wanted to contribute with something for the party.
14:04As that piñatita should not have cost much money that we leave, huh?
14:08I did it myself.
14:10It is a surprise piñata.
14:12Surprise piñata?
14:14Yes, look, let's see, I'm going to hit it against the floor.
14:17No, no, no, no.
14:22I do not understand.
14:24It is that this is not really a piñata.
14:26It is a ball disguised as a piñata.
14:28Look, look, look.
14:33To make jokes to the guests.
14:35Is not it a good idea?
14:37Yes, it is very good, but what a scare he put me in, huh?
14:40I realized.
14:42He put me face.
14:44Well.
14:46Hey, I'm going to start making the joke with the chimoltruffia and the potija and the chopira.
14:51Well, I think it's very good.
14:53Look, they are placing the ornaments there.
14:55Well, if you hear screams, do not be scared.
14:57Okay, okay, okay.
15:00Chopiras, think fast.
15:03Are you crazy, Sergeant?
15:05I could have broken my head.
15:07Oh, well, you would not have lost much.
15:09Yes, but you could also have broken the piñatita.
15:12And I say, without a piñata there is no posada.
15:14Chimotruffia, the piñata could not have been broken and I'm going to show you why.
15:19Look closely.
15:22Oh, well, I do not understand.
15:24Why did not the piñata or the head of the chopiras break?
15:27Because this is not really a piñata.
15:29It's a ball disguised as a piñata.
15:32To make jokes to the guests.
15:34Is it a ball?
15:36Vote, vote.
15:37Look.
15:40Oh, let's see, let's see, let's see.
15:41My turn, my turn, my turn.
15:46It does not break, but as a surprise it hurts.
15:50Oh, do not be a crybaby, man.
15:52Hey, Sergeant, but who did it?
15:55I did it.
15:56I did it.
15:57Do I deserve a promotion?
15:58Oh, do not be a clown, huh?
15:59It's not that much.
16:00But I congratulate you, huh?
16:02Because it really looks like a piñata.
16:04Hey, and the botija?
16:06Also.
16:07No, I wonder where the botija is.
16:09Ah, it's in the elevator.
16:11Why do you ask?
16:12To make the joke of the piñata, the botija.
16:15Come on, come on.
16:17Permit.
16:18You know what?
16:19What?
16:20Talk to him because you do listen to the botija.
16:22But do not tell him anything, huh?
16:24Botija!
16:26The elevator is broken.
16:29Oh, botija, do not be stupid.
16:31Come on, we're going to teach you something with Christmas spirit.
16:37Let's see, what do you want to teach me?
16:39Do you remember that it has been said many times that without piñata there is no posaja?
16:44And what is that?
16:45Just watch.
16:53A mistake is made by anyone.
17:01Here it is.
17:02Oh, how beautiful.
17:04But, but, but, I warn you one thing.
17:07If you break this piñata before time,
17:09let's see how you fix it because I'm not going to buy another one.
17:12No, no, no.
17:13You're right.
17:14But let me tell you one thing, Mr. Cecilio.
17:17No, no, no.
17:47I could...
17:50Stop exaggerating!
17:51And next time I'll slap you with the stick that is used to break the piñata.
17:56Well, stop, stop, stop, stop.
17:58If the posada is going to be a reason for discord,
18:01what I do is that I do not allow the posada and the problem is over.
18:04No, Mr. Cecilio.
18:06Well, well, well, then go and place the ornaments.
18:08And none of these relaxes, forget them.
18:10No, it's fine, it's fine.
18:11Chompiras, take the piñata.
18:12Yes, of course.
18:13No, no, no, Kiki.
18:19Oh sure, how delicate, no?
18:21We can hang them again.
18:31Good morning, Mr. Cecilio.
18:32Good morning, Mrs. Pota Verderona.
18:34Look, I'm going to collaborate too.
18:37Bring this piñata.
18:39Very well.
18:41Is it a joke?
18:42Is it a joke?
18:43Yes, yes, yes, I know.
18:45Actually, it's not a piñata.
18:47It's a ball disguised as a piñata.
18:49No, it's a clay piñata, like all of them.
18:54Well, then, why do you say it's a joke?
18:57Look, because first, we hang this piñatita.
19:01So when the guests see it, they'll say,
19:04Oh, with this piñatita, no one will get any fruit.
19:10And then we take out the one you bought.
19:14Well, if you think that's a joke that's worth it.
19:18Of course, of course, yes.
19:21Come on, Cecilio, we haven't broken anything.
19:23Now everything is perfect.
19:25Look, look what I bought.
19:28A joke piñata.
19:30Come on, another one.
19:32Allow me, allow me.
19:37Sergeant, think fast.
19:40Thank you.
19:41I'm going to go get my coffee.
20:11I'm going to get a soda.
20:13Dance so that you can drink sodas later.
20:16They were really good.
20:18The bottles opened really well.
20:20Well, for a soda, a sandwich.
20:23Thank you.
20:26Mommy, it's weird that you're not dancing.
20:29Oh, well, no.
20:30You don't know.
20:31Everyone has come to invite me to dance.
20:33Really?
20:34Yes.
20:35The thing is that I'm the one who didn't want to.
20:37Because I'm a little tired.
20:39Of course, at your age.
20:43Well, I'm going to keep distributing these sodas.
20:45Go ahead.
20:47Let's see, a soda over there.
20:49I would like to dance this piece.
20:53But I've never been able to with these modern rhythms.
21:03Don't you dance, Mrs. Tota Verderona?
21:05Yes.
21:06Well, sometimes.
21:08Of course, at your age.
21:12May I?
21:15I want to shake your hand, Mr. Cecilio,
21:17to congratulate you for the posada.
21:19How beautiful it is coming out.
21:21Thank you, Sergeant, thank you.
21:23And let it be known that there are two or three employees
21:25who don't deserve it.
21:27Chompiras, for example.
21:29No, no, no.
21:30Don't say names.
21:31And better tell me why you're not dancing.
21:33Well, I can't find anyone.
21:36Like there's no one who's worth it.
21:39I've said it before.
21:41My niece hasn't danced with anyone either.
21:43So the poor thing will be.
21:45As you say.
21:46No, no.
21:47I mean, I don't have the pleasure of meeting your niece.
21:50Well, come on.
21:51I'm going to introduce her to you.
21:53Let's see.
22:06Look, niece.
22:07I present you to Sergeant Refugio.
22:18Muchísimo gusto.
22:20The pleasure is mine, Sergeant.
22:29Do you want a napkin?
22:31Napkin for what?
22:33To clean the drool that runs.
22:51No, no, no, no, no, no.
22:54It's nothing worse.
22:56Excuse me.
22:57May I know what you are trying to do to me?
23:00You shut up.
23:01Yes.
23:02Put it on so you don't lose it for hours.
23:04Come on.
23:10So what, Sergeant?
23:11You're not going to dance with my niece?
23:14Me?
23:15Oh, well, I can't help it.
23:17Let's see.
23:18Let's see.
23:19Hold it.
23:20Please.
23:21The other hand, please.
23:22No, what are you doing?
23:23Can't you see that the man is upside down?
23:25And the man's hand goes this way.
23:27Come on.
23:28Come on.
23:30Let's see.
23:31Thank you very much.
23:43You know what?
23:44I have the impression that we are not dancing the rhythm as it should be.
23:49You're right, aren't you?
23:51Well, let's do it as it should be.
23:53Come on.
23:59Let's dance.
24:00Let's dance.
24:01Let's dance.
24:02Let's dance.
24:03Let's dance.
24:04Let's dance.
24:05Let's dance.
24:06Let's dance.
24:07Let's dance.
24:08Let's dance.
24:09Let's dance.
24:10Let's dance.
24:11Let's dance.
24:12Let's dance.
24:13Let's dance.
24:14Let's dance.
24:15Let's dance.
24:16Let's dance.
24:17Let's dance.
24:18Let's dance.
24:19Let's dance.
24:20Let's dance.
24:21Let's dance.
24:22Let's dance.
24:23Let's dance.
24:24Let's dance.
24:25Let's dance.
24:26Let's dance.
24:27Let's dance.
24:28Let's dance.
24:29Let's dance.
24:30Let's dance.
24:31Let's dance.
24:32Let's dance.
24:33I'm having so much fun.
24:34I'm having such a good time.
24:35Let's dance.
24:36Let's dance.
24:37Let's dance.
24:51I should have stopped dancing from five minutes ago!
24:54I don't know what to do with myself, I don't know what to do with myself, I don't know
25:24I don't know what to do with myself, I don't know what to do with myself, I don't know
25:55I don't know what to do with myself, I don't know what to do with myself, I don't know
26:08What is it, Perico?
26:10Show me what it is
26:12It's a kitola
26:14What is it?
26:16It's a kitola
26:17What, but why?
26:18Because he is not in a good mood, also the posadas are not for dancing
26:21Who is DJing?
26:23I say it! I say it!
26:25And we all say it, those of us who fight to preserve the acrosanctous traditions
26:29and to prevent them from being infected by the virus of disgusting modernism.
26:34No, Manu, no.
26:37What happens is that you don't like to dance.
26:40That's what happens.
26:43And you, my dear mother-in-law, should be the first to support everything I say.
26:47And me, why?
26:49Because of the pile of years you have.
26:51Can I know what you are trying to insinuate?
26:55Well, because I suppose that in your very distant and remote childhood,
27:00you knew the posadas as they were originally.
27:03Isn't that true?
27:04Well, why would I say no?
27:06But I also don't see what I'm harming a little bit.
27:12Wait, wait, wait.
27:14Allow me a little, allow me.
27:15You know what, my dear mother-in-law?
27:17Look, I understand that you are right,
27:20but in this case, the bottle also has its reason.
27:24And I mean, precisely in this case, its reason is more solid than the bottle.
27:29And you're going to forgive me a lot, but you know that as I say one thing,
27:33I say another, my dear mother-in-law.
27:35It's like everything.
27:36There are things that I have or don't have their reason.
27:40I mean, my reason, my reason.
27:42Well, you know what, my dear?
27:44It's good that you said all this after I had already danced.
27:48Why?
27:49Let's see who takes away my dancing.
27:54It's just that I was already liking this little dance a lot.
27:59Well, well, well.
28:00But we have to continue with what follows.
28:03Next.
28:04And what follows are the verses to ask for a posada.
28:07Isn't that right?
28:09For the same reason,
28:11for the same reason, we women stay here,
28:14and men go a lot to the other side.
28:16No, no, yes, it's fine, it's fine.
28:18Wait, wait.
28:19What happens is that the men are going to sing the verses to ask for a posada,
28:22and we're going to do it there, in the lobby.
28:24Come on.
28:26And the women stay here to answer the verses.
28:29But they're going to separate us from our partners.
28:32Oh, but just for a little while.
28:34Come on, come on.
28:36Let's see, follow me.
28:37Come on, come on.
28:41Well, now we're ready.
28:44John Pérez, what are you doing here?
28:46Well, what you said.
28:48I said that we women stay here.
28:52Ah, I heard the best.
29:04One, two, three.
29:07In the name of heaven,
29:13I ask for a posada,
29:18because my beloved wife
29:27cannot walk.
29:34And it says one, and it says two, and it says three.
29:37Here is no mansion,
29:42go on ahead.
29:47No, no, no, no, no.
29:50Look, look, no.
29:51The letters that are repeated are like the A, for example, it is a, a, a.
29:55Go on ahead.
29:58Not the T, T, T.
30:01Did you understand me?
30:02Yes, yes.
30:03Well, get a grip.
30:04Let's see, and it says one.
30:06Let's see, let's see, let's see.
30:07What happened with the women?
30:08It's your turn.
30:09Well, these don't get the hang of it.
30:11Well, go on.
30:12But there we go, there we go.
30:13Did you understand me?
30:14Yes.
30:15And it says one, and it says two, and it says three.
30:17Here is no mansion,
30:22go on ahead.
30:27No, no, no, no, no, no.
30:32You're getting out of hand, Mom.
30:35Well, but why me?
30:37Well, because you're making the same mistake I made a while ago.
30:40The letters that are repeated are one and not the other.
30:43Look, here is no mansion,
30:46go on ahead.
30:49Well, no, well.
30:50Go on, like that, but with sound.
30:52And it says one, and it says two, and it says three.
30:55Here is no mansion,
31:00go on ahead.
31:05Well, I can't open it,
31:10don't be a fool.
31:16What happens is that the chimontruffia
31:18is very demanding in that of the tuning and the quadrature.
31:21Just as it should be.
31:23Not like here,
31:24that instead of singing,
31:25they start howling like garbage cats.
31:27You sing very nice, don't you?
31:29No, no, no, no.
31:30He's also getting out of hand a lot.
31:32Me?
31:33Of course, Botija.
31:34You've never been square.
31:36You've always been round.
31:39Yes, how funny, isn't it?
31:41Here they are singing.
31:42What happened?
31:43At what time are they going to answer the stanza?
31:45Ah, yes, yes.
31:46Let's go.
31:47It will be a stanza.
31:48Well, it will be the serenade, but sing it.
31:50All right, all right.
31:51In three hundred feet...
31:53No, no, no, no.
31:55No, not yet.
31:56Let's see.
31:57My name is Maria.
31:58One, two, three.
31:59My name is Maria,
32:04Queen of Heaven,
32:09and Mother of the Divine Word.
32:24And say one, and say two, and say three.
32:27You are Jose,
32:32your wife is Maria.
32:37Serpent pilgrims,
32:42I did not know them.
32:49Come, saints, pilgrims, pilgrims,
32:54receive this ring,
32:57that although it is poor,
32:59the purple, the purple,
33:03is given by the heart.
33:07Ten confites and canelones
33:09for those who are very chubby.
33:11Hey!
33:12Hey!
33:13Hey!
33:14Hey!
33:15Hey!
33:16Hey!
33:17Hey!
33:18Hey!
33:19Hey!
33:20Hey!
33:21Hey!
33:22Hey!
33:23Hey!
33:24Hey!
33:25Hey!
33:26Hey!
33:27Hey!
33:28Hey!
33:29Hey!
33:30Hey!
33:31Hey!
33:32Hey!
33:33Hey!
33:34Hey!
33:35Hey!
33:36Hey!
33:37Hey!
33:38Hey, little ones!
33:39Let's see.
33:40Now the curête!
33:41Allow me.
33:42One thing, do you know that closing their eyes is like trying to turn off the two most
33:47beautiful stars in the schoolyard.
33:51Anda, andas, andas.
33:53Ya, ya, ya.
33:54Hora de envidiosos.
33:56Espero que no esté apretando demasiado.
33:59No, está bien, con confianza.
34:01Está bien.
34:02Ahora una mareadita, ¿eh?
34:03Claro, claro.
34:04Fíjese bien.
34:08Espero no estar mareando demasiado.
34:10No, está bien así.
34:12Porque yo sí.
34:13Agua, agua.
34:14Ya, ya, ya.
34:16Lo que pasa es que el sargento no sabe marear a una mujer.
34:20A ver, mi tata.
34:29Ahora, abre el garrote, por favor.
34:31Aquí, con sus lindas manitas.
34:33Muy bien.
34:34Vamos a entibarla derechito a la piñata.
34:37Aquí está.
34:40Ay, perdón, perdón.
34:41¿No dijes que se parecen tanto?
34:44Sí.
34:45Tómalo por el lado amable.
34:47Y ahora sí, háganse a un lado, porque ahora sí viene la derecha.
34:50Vamos ahí, don Cecilio.
34:52¡Suéltele!
34:53Dale, dale, dale.
34:55¿Dónde está el cecino?
34:57¿Dónde cecino tienes?
35:05Está alejándote y la va a romper.
35:07Mejor ahora me toca a mí.
35:08¡Ah, no!
35:09Me toca a mí.
35:10No, me toca a mí.
35:11¿Qué me toca a mí?
35:12Me toca a mí, mamacita.
35:13¡Pero ya!
35:14¡Pero ya!
35:16¡Boti, Botijita, Botijita!
35:18¿Ya viste, Botija?
35:19Ella también te confundió con la piñata.
35:22¿Qué cosa dice que dice que dijo?
35:24Que usted también confundió a Botija con la piñata.
35:26¡Ay, ay, ay!
35:27Mira, Botija, no le hagas caso a lo que está diciendo, porque este chomperas es...
35:33Boti...
35:35Tómalo por el lado amable.
35:39¿Sabes qué, mija?
35:41Voy a dejar que te toque a ti primero.
35:44Para que luego no diga la gente que una madre no se sacrifica por la hija de sus extraños.
35:51¡Órale, pues! ¡Órale, pues!
35:53Pues ahí te voy.
35:54Quítate, mamacita, porque ahí voy a...
35:56¡Órale! ¿Por qué me quitó el palo?
35:58Pues ¿cómo qué? Porque así no se vale.
36:00¿Por qué no se vale?
36:01Primero, tiene que estar vendada y mareada.
36:04Está bien, está bien.
36:05Nomás pa' que no digan.
36:07Órale, a ver, ¿quién me venda?
36:09¡Ah, yo, yo!
36:10¡Yo la vendo!
36:11¿Cuánto dan por una chimoltrofia de medio uso?
36:14¿Qué pasó?
36:16¡Ay, tómelo por el lado amable!
36:17Nada de tómelo por el lado amable, que me ponga la venda en los ojos, y no se perdió de mi humo.
36:23Pues ahí voy, a ver, aquí nomás que... no tengo con qué vendarla.
36:25¿Si me permite?
36:26Muchísisisísisísimas gracias.
36:30Con permiso.
36:31¡Ay! Y sin permiso.
36:32¡Ah, ya, ya!
36:33¡Chomperas!
36:34¡Ponle la venda en los ojos a la chimoltrofia!
36:36¿Qué voy a hacer?
36:37¡Estás perdiendo el tiempo!
36:38¿Qué voy a hacer?
36:39I didn't know you were the niece of this man, of Don Cecilio.
36:47Yes, yes, don't worry, I'll sell it, I'll sell it.
36:50Hey, do you work or study or what?
36:53No?
36:54Tell me the truth, tell me the truth, tell me the truth.
36:57Tell me the truth, tell me the truth.
36:59I know that I am a man, so give me a hug.
37:03Joe Piraz, are you killing her?
37:06Oh yes, a while ago I realized that I bring her dead.
37:10No, the one you are killing is the chimoltruffia.
37:13Oh no, me with the women of my friends, never.
37:16Don't be a barbarian.
37:20My love, my life, my heaven, what's wrong with you?
37:22What's wrong with you, my love?
37:24Please, what's wrong with you?
37:27Don Cecilio is here.
37:31What?
37:33Don Cecilio is here.
37:36I don't understand you.
37:39Stop being like a dog, like a dog, talk to me.
37:46Chimoltruffia, please, this is not the time to be talking like a little girl.
37:50No, botija, the chimoltruffia is not talking like a little girl.
37:54What happened was that Chom Piraz, instead of putting the sale in the eyes,
37:57he put it on the neck and was about to hang her.
38:00It's not true, my love, my love, my love, my love, my love, my love, my love, my love, my love, my love, my love, my love, my love, my love.
38:07My love, talk, talk, tell me something, whatever you want.
38:09Talk, tell me the word, whatever it is, just one word.
38:13Stupid.
38:16With that it is enough.
38:18Oh.
38:48It's true, let's see if it's true.
38:50Let's see, what am I putting on you, cross or horn?
38:54Cross.
38:55Aha, there it is, there it is, as if you are seeing it.
38:58No, no, I'm not seeing it.
39:00Then how did you know that I put cross on you?
39:03Because you are no longer in the age of putting horns on anyone.
39:08Well, what's going on, what's going on?
39:12I'm tired of holding this.
39:15It's true.
39:16You just take care of putting it on me.
39:18Here I go.
39:20No.
39:29What happened, Mr. Cecilio, just move it and move it.
39:32There it is, so you can see that it is not as easy as you thought.
39:35Oh yes, oh yes, you do break it very fast, right?
39:39Oh, I submit to the tests.
39:41Let's see if it's true, Chopiras.
39:43You know what, it seems to me that you are a pure talker, look.
39:46Oh yes, talker, right now you are going to see, right now you are going to see.
39:48It's the same thing, it's burning.
39:50Just one condition, eh, that the piñata pass it to me where I can reach it,
39:56that is, that it is not very high, at a height where I can reach it.
40:00Yes, well, just let them pass it to you rolling.
40:06But what am I going to hit you with? I need you to give me a stick.
40:10I'll give you a stick.
40:13Well, he said he would give you a stick.
40:15But who wouldn't?
40:16All right, all right, all right, here's the stick, here's the stick.
40:19That's it, that's it.
40:20Oh, what a stick, this looks like a membrane stick.
40:26What you're grabbing is not the stick, it's my doll.
40:29Oh, then?
40:31What do you mean, then? Well, the stick, man.
40:33That's it, yes.
40:34Wait a minute, wait a minute, wait a minute.
40:36What?
40:37The dizziness is missing, the dizziness is missing.
40:40Now for the other one, now for the other one, now for the other one.
40:43Now, now.
40:45That's it.
41:10That's it, that's it, that's it.
41:14That's it, that's it, that's it.
41:34You know what, girl?
41:36I think that piñata is only going to break with a stick.
41:40Are you crazy, mama?
41:42Why?
41:43Because you're saying that piñata is only going to break with a stick.
41:47Well, just watch.