Goyo 2024
Category
🎥
Short filmTranscript
00:00:00You
00:00:30You
00:01:00You
00:01:16Yeah, yeah, yeah, yeah, I mean I me gusta bien respiradora respirar gracia
00:01:30Oh
00:01:34Yo, yo un dÃa esto te vas a ahogar salida y si profesor
00:01:39Rosso un dÃa de estos que vas a ahogar callate Augusto
00:02:00Música
00:02:20Te vas
00:02:23Este teno este
00:02:26Tengo cuatro conciertos en dos semanas go yo un poco de comprensión
00:02:30Have a good day, sister.
00:02:33You too.
00:03:00You too.
00:03:30Let's go.
00:03:34Let's go.
00:04:00Good morning.
00:04:05Have a good day, Goyito.
00:04:07You too, Miranda.
00:04:09Mirandita.
00:04:10Good morning, baby.
00:04:11Good morning, Goyete.
00:04:13Good morning, Mom.
00:04:14Good. How are you, Momo?
00:04:16I didn't sleep at all, asshole.
00:04:18Cata came last night.
00:04:20We ate and hung out watching a show until any hour.
00:04:23So I'm dead.
00:04:25That's not right.
00:04:27If you were dead, you wouldn't be here right now, Momo.
00:04:30You got it.
00:04:33The National Museum of Fine Arts is the most important museum in Latin America.
00:04:37In its more than 120 years, the museum has formed an important collection
00:04:41of more than 12,000 pieces from different artistic periods.
00:04:58Let's go and see one of my favorite works of art.
00:05:02Portrait of a young woman by Rembrandt.
00:05:14Did you change the lock?
00:05:15Yes.
00:05:18Well, it was a mess, but that's it, right?
00:05:20What do you mean, that's it?
00:05:21It was more than a mess.
00:05:22Miguel, you ended up in jail.
00:05:24No, stop. What jail?
00:05:25I spent 72 hours in a police station.
00:05:27A normal situation.
00:05:29Besides, I miss you, you, the kids, everything.
00:05:32You weren't here all day.
00:05:33GuachÃn didn't let me in. He's crazy.
00:05:35How can he do that to his father?
00:05:36Where were you?
00:05:37I told them not to open the door. Both of them.
00:05:39Answer me. I asked you where you were.
00:05:41I started working at a museum downtown.
00:05:44Ah, good.
00:05:46What are you doing?
00:05:47And we're going inside.
00:05:48Come on, Miguel, stop screwing around.
00:05:50Don't complicate it and go.
00:05:51Where am I going?
00:05:52What's on your mind? Are you crazy?
00:05:54How am I going to go?
00:05:55This is my house, too. Besides, my kids are there.
00:05:57Now that you want to go, I have to go.
00:05:59Do you want to screw up my life like this?
00:06:01No, you screw up your life on your own, Miguel.
00:06:03On your own.
00:06:04Come on, stop acting like an idiot and go.
00:06:07Go.
00:06:15Did he leave?
00:06:17Yes, he's gone.
00:06:19Did your brother come back?
00:06:20No.
00:06:21Where is he?
00:06:22I don't know.
00:06:23I don't know either.
00:06:51I don't know.
00:06:59Goyo, dinner is ready.
00:07:03May I come in?
00:07:04Yes.
00:07:09Well, well, well.
00:07:11Back to the canvas. Very good.
00:07:14It's been a long time since you last painted.
00:07:16Like three years?
00:07:17Four years and seven months.
00:07:20I can't believe the pandemic.
00:07:23How nice.
00:07:24Is it a human figure?
00:07:27A woman, clearly.
00:07:28Yes.
00:07:30My imagination?
00:07:32She works at the museum.
00:07:33Real?
00:07:34Yes, real.
00:07:36And what does she do at the museum?
00:07:38She's a security guard.
00:07:42And what does that security guard have that inspired you to paint again?
00:07:49Hmm.
00:07:53Beauty.
00:07:57And something else I can't define.
00:08:04Let's eat.
00:08:06I'll wait for you in the kitchen.
00:08:16What's wrong, son?
00:08:17Do you miss him?
00:08:20He won't get mad because you didn't open the door.
00:08:23He loves you a lot.
00:08:25Your dad.
00:08:27Cutie loves him more.
00:08:29Who told you that?
00:08:30It's not like that.
00:08:32No, it's not.
00:08:33The thing is,
00:08:35they get along better because they're more alike.
00:08:48Where have you been?
00:08:52I'll ask you about Romy later.
00:08:56Did you take money out of the can?
00:09:02What's wrong, Cutie?
00:09:04What do you mean?
00:09:05It's my first day at work.
00:09:06I asked you to stay with your brother,
00:09:08but when I got back from school, you left.
00:09:10What's going on?
00:09:13Look, Cutie.
00:09:14Look, Cutie.
00:09:18If you have nothing to give,
00:09:20if you don't want to give anything,
00:09:22I'm going to ask you to move in with your dad,
00:09:24with your girlfriend, with whoever you want.
00:09:26That's it. That's it.
00:09:28Are you going to kick me like the old man?
00:09:29Don't talk to me like that.
00:09:30Don't talk to me like that, asshole.
00:09:32Learn from your dad everything you don't have to.
00:09:35You have too much intelligence to do it.
00:09:44You have too much intelligence to do it.
00:09:50Don't touch the pan, damn it!
00:10:15Good, Goyo.
00:10:17You came with everything today.
00:10:19Take a shower and go home.
00:10:22Augusto!
00:10:23Sorry, Professor.
00:10:32Good morning.
00:10:33Good morning.
00:10:34Good morning.
00:10:43The museum exhibits a vast panorama of Argentine art,
00:10:46with works by Cándido López,
00:10:48Prilidiano Poirredón,
00:10:50Emilio Petoruti,
00:10:52Sul Solar,
00:10:53Antonio SeguÃ,
00:10:56Marta MinujÃn,
00:10:58Antonio Berni,
00:11:01and León Ferrari.
00:11:04And that is how the museum was created.
00:11:10I don't have to go shopping yet.
00:11:12Can you believe I have a yogurt on the fridge?
00:11:14I have a lot of yogurt.
00:11:16See you tomorrow, Goyo.
00:11:18See you tomorrow Momo and Miranda.
00:11:20I'm going outside.
00:11:21Yes, calculate. In about an hour.
00:11:26I take the subway and I'll be there in 40 minutes.
00:11:34♪♪
00:11:44♪♪
00:11:54♪♪
00:12:04♪♪
00:12:14♪♪
00:12:24♪♪
00:12:34♪♪
00:12:44♪♪
00:12:54♪♪
00:13:04♪♪
00:13:14♪♪
00:13:24♪♪
00:13:34♪♪
00:13:44♪♪
00:13:54♪♪
00:14:04♪♪
00:14:14♪♪
00:14:24♪♪
00:14:34♪♪
00:14:44♪♪
00:14:54♪♪
00:15:04♪♪
00:15:14♪♪
00:15:24♪♪
00:15:34♪♪
00:15:44♪♪
00:15:54I'm doing rigatoni with Genovese pesto.
00:15:59Are you okay?
00:16:07Did something happen?
00:16:10I scared a woman.
00:16:11What do you mean you scared a woman?
00:16:15It was a special woman.
00:16:17She came to work at the museum on Tuesday.
00:16:19She's a security guard.
00:16:21Uh-huh.
00:16:23So you saw her on Tuesday, yesterday, and today.
00:16:26I saw her, but she didn't see me.
00:16:29Whenever I looked at her or crossed her, she didn't see me.
00:16:34And she saw you today?
00:16:38And she got scared.
00:16:43I followed her to the subway.
00:16:45You got off the subway?
00:16:46The lights went out and the train stopped in the middle of the tunnel.
00:16:52I got very anxious and very nervous.
00:16:54I started to choke.
00:16:56Sure.
00:16:57And she saw you like that and got scared.
00:17:01I ruined the opportunity that she had a good image of me
00:17:03and wanted to bond with me.
00:17:05Hey, stop.
00:17:07A lot of people have phobias.
00:17:09The train stopped in the middle of the tunnel, the light went out.
00:17:12I'd tell you it's normal what happened to you.
00:17:14I'd tell you it's normal what happened to you.
00:17:17You can still get over it.
00:17:19I've raised worse dead than that.
00:17:25Why did you have to raise dead kids?
00:17:28I mean, I got over situations that seemed irreversible.
00:17:36Hi, son.
00:17:37Hi.
00:17:38I went to see Aunt Marce.
00:17:39How are you, my love?
00:17:40What are you doing?
00:17:42What are you doing? Math?
00:17:44Geometry, mom.
00:17:46Sure.
00:17:47Everything okay?
00:17:50Your brother?
00:17:51He came a while ago and took everything.
00:17:55What do you mean, everything?
00:17:56Yes, the clothes, the PlayStation.
00:18:12Hi, girls.
00:18:13No, I won't be able to come.
00:18:15No, because I have all my social media suspended
00:18:17until the concert on the 12th in Paraguay.
00:18:19But I invite you on the 14th,
00:18:21which is here in Buenos Aires, in the military circle.
00:18:23I send you kisses.
00:18:24I don't know why you lie.
00:18:26If you never give them tickets.
00:18:27They also lie to me.
00:18:29They ask me for tickets and then they don't come.
00:18:31They are deaf and they are not interested in music at all.
00:18:33Friends and hypocrites.
00:18:35Well, they are my friends.
00:18:36Don't be so disrespectful.
00:18:38What?
00:18:39Saul, when he speaks, he drags the R.
00:18:41Disrespectful, he said.
00:18:43That's rotacism caused by the effects of alcohol.
00:18:46I don't have anything to do with that.
00:18:48I'm an alcoholic, but I always talk like that.
00:18:50Like that with the R, kind of French.
00:18:52Well, mom also talked like that sometimes, remember?
00:18:54Yes, probably when she drank.
00:18:57Please.
00:18:58Come on, girl, enough.
00:19:00Eva.
00:19:01Peronist name.
00:19:03And biblical.
00:19:04Yes.
00:19:05The ones who were born after 50 are called Eva by Evita.
00:19:07Not by the other one.
00:19:09How old is she?
00:19:11I estimate that between 47 and 50 years.
00:19:13Wow, you went up.
00:19:15A thousand.
00:19:17Is she well preserved?
00:19:20I mean, if she's pretty.
00:19:21Is she pretty?
00:19:22Yes, very pretty.
00:19:24Does she have an ass?
00:19:25We all have asses, matute.
00:19:27I know.
00:19:28I'm asking if she has a good ass.
00:19:30She has a good ass.
00:19:32I know.
00:19:33I'm asking if she has a good ass.
00:19:37Harmonic.
00:19:40Tits?
00:19:42Harmonic.
00:19:45And turgid.
00:19:47Great.
00:19:48Very good.
00:19:49And why did you say that she didn't see you when you were crossing her?
00:19:54Maybe she didn't see me because she was very focused on her things.
00:19:58She's a woman with problems in the house, apparently.
00:20:02Is she married?
00:20:03I don't know.
00:20:04She has children, I think.
00:20:08How long has it been since you've been interested in a woman?
00:20:13Four years and six months.
00:20:14The last one was in Guadalupe, Basterrica.
00:20:18That girl is so annoying.
00:20:19She spends her time talking about bugs, spiders.
00:20:22And she does that, matute. Is she an entomologist?
00:20:25Yes, I know.
00:20:27I should have asked for a lemon.
00:20:30Well, we have to think of a strategy.
00:20:32You see Eva every day, right?
00:20:34Yes.
00:20:35Look, I think you have to face her right away tomorrow to fix what happened today.
00:20:40Hi, Eva.
00:20:41I apologize.
00:20:42I didn't want to scare you yesterday on the subway.
00:20:45I wanted to call you several times.
00:20:47It's important that you explain to her that it was several times.
00:20:50But I couldn't.
00:20:52I followed you.
00:20:53That wasn't good.
00:20:54I followed you.
00:20:55That wasn't good.
00:20:56It's also important that you explain that you know it wasn't good.
00:20:59But it was with the best intentions.
00:21:01I apologize.
00:21:03I'm Goyo Villanueva.
00:21:05Delighted.
00:21:06Just like that.
00:21:07Straight to the bone.
00:21:09To what bone?
00:21:11To the point, I mean, Goyo.
00:21:14No, matute.
00:21:15I already invited you.
00:21:17I should have asked for a lemon.
00:21:24I'm sorry.
00:21:35I can't believe this.
00:21:36They're taking off their uniforms every time.
00:21:38It's horrible.
00:21:39Let's go, girls.
00:21:40Garcia will get mad.
00:21:41Yes, yes, let's go, Charlie.
00:21:42See you later.
00:21:43Okay, bye.
00:21:45Excuse me.
00:21:46What's that?
00:21:47What?
00:21:48I don't see anything.
00:21:49He's flirting with me.
00:21:50Really?
00:21:51He says little things.
00:21:52You see him as a dead man, but you don't know his inner fire.
00:21:56Speaking of fire, I can't stand the heat anymore.
00:21:59Don't you feel it?
00:22:00Vitamins.
00:22:01Yes.
00:22:02Garcia.
00:22:04Oh, Goyo.
00:22:05Good morning.
00:22:06What are you doing here?
00:22:07This is the guy I told you about yesterday.
00:22:09What are you doing here?
00:22:10He's a misunderstanding.
00:22:11That's why I came to see you.
00:22:13Wait, Goyo.
00:22:14He works here.
00:22:15He's one of the guides.
00:22:17You've never seen him.
00:22:18No, he's never seen me.
00:22:19That's why it happened yesterday at the subway.
00:22:21What happened?
00:22:22Eva Montero.
00:22:23That's my name.
00:22:24Eva Montero saw me yesterday at the subway.
00:22:27And she got scared because I was looking at her.
00:22:29And I was looking at her because I know her from having seen her here at the museum.
00:22:32But she didn't look at me.
00:22:33Well...
00:22:35That's why it's understandable that she thought it was a stranger who wanted to harass her.
00:22:40That explains the unpleasant gesture she made to me when I got off the subway.
00:22:44I didn't want to scare her, Eva Montero.
00:22:46I just wanted to say hello.
00:22:47That's all.
00:22:49So now I came to apologize and introduce myself properly.
00:22:53I'm Gregorio Villanueva.
00:22:55Spanish guide at the museum.
00:22:57Pleased to meet you.
00:22:59Yes, how are you?
00:23:00How are you? Pleased to meet you.
00:23:04Well, that's it.
00:23:06You gave the explanations.
00:23:08Thank you, Goyo.
00:23:10Excuse me.
00:23:14I can't believe it.
00:23:16Poor thing.
00:23:17What did you do to him?
00:23:19Nothing, I don't know.
00:23:20I did this to him.
00:23:21What a son of a bitch.
00:23:22No, what a son of a bitch.
00:23:23He's kind of weird, isn't he?
00:23:24Weird.
00:23:25But he's a love, he's a divine.
00:23:27He's very intelligent.
00:23:29Yes, well, okay, okay.
00:23:30He must be very intelligent.
00:23:31But I don't know how he looked at me on the subway.
00:23:32He had his eyes like this.
00:23:33He was all crooked.
00:23:34I said, get off and kill me.
00:23:37Poor thing.
00:23:38Calm down, okay?
00:23:39That's it, it's over.
00:23:40The next time you see him, smile at him, be nice.
00:23:43Come on, hurry up, it's time.
00:23:45And Garcia will kill us.
00:23:57In this tapestry, woven in the year 1660,
00:24:00the scenes represented preserve the composition and the Renaissance line.
00:24:06The baroque guard, composed of vegetable elements, weapons, birds and musical instruments,
00:24:12presents in its lower section the shield of the Marquis de Caracena.
00:24:23We continue.
00:24:36Hi.
00:24:37Hi, Eva Montero.
00:24:39How are you?
00:24:40Fine.
00:24:41Can you believe the subway stopped at eight?
00:24:44On top of that, all the buses are full.
00:24:46I'll never get home today.
00:24:48If you want, I can keep you company until eight.
00:24:51I could invite you to drink something.
00:24:55No, don't worry.
00:24:57I'm used to these things too.
00:25:00I live very close by and I have nothing to do.
00:25:07It won't get boring.
00:25:08I'm an interesting interlocutor.
00:25:12I studied Fine Arts here in Buenos Aires.
00:25:14And I also did a PhD at the Complutense University of Madrid.
00:25:18Wow, that's great.
00:25:20And since when have you been working at the museum?
00:25:22Since Monday, June 24, 2013.
00:25:26Are you okay?
00:25:32And you always wanted to work in security?
00:25:35No, no, no.
00:25:37No, no, no.
00:25:39I wanted to be a doctor.
00:25:43But I barely finished high school.
00:25:47Then my dad died.
00:25:49I'm sorry.
00:25:50Yes, it was a long time ago.
00:25:53I had to go out to help my family and work.
00:25:57Life brought me here.
00:26:00So you don't like what you do?
00:26:03Yes.
00:26:04Yes, I like it. I don't know, it depends on the place.
00:26:07For example, I like the museum.
00:26:10But at times it's a bit boring.
00:26:13But well, I don't know.
00:26:15It's work too.
00:26:25The sun hits your face in a very special way, Eva Montero.
00:26:30It's a yellow, like the one Vincent used.
00:26:33Who?
00:26:34Vincent Van Gogh.
00:26:35He's a well-known Dutch painter.
00:26:37Yes, yes, of course.
00:26:38The one whose ear was cut off?
00:26:40Yes, yes.
00:26:42Vincent is my favorite artist.
00:26:44He had a brother who took care of him a lot.
00:26:46His name was Theo.
00:26:48Mine is Matias, but we call him Matute.
00:26:51Theo died six months after Vincent.
00:26:53Matute is still alive.
00:26:57Delicious.
00:26:59Chromium yellow is the pigment that hits your face.
00:27:02It was created thanks to the industrial revolution.
00:27:06Amazing.
00:27:08How do you know?
00:27:09I know a lot.
00:27:13You're...
00:27:16very special.
00:27:23Oh, look, it's almost eight already.
00:27:25Perfect, we're leaving.
00:27:26Yes.
00:27:28Well.
00:27:30Thank you for waiting and for the lemonade.
00:27:32I owe you one.
00:27:33No, you don't owe me any lemonade.
00:27:35It was a pleasure to have a chat with you.
00:27:38Take care of yourself, Goyo, please.
00:27:40I can't.
00:27:41I need time to take care of people.
00:27:43Unless they are children or teenagers.
00:27:45But with adults, I need to build trust.
00:27:50Well.
00:27:52You told me you live around here, right?
00:27:54Yes.
00:27:55What were you doing in the subway?
00:27:59I wanted to talk to you, like we're doing now.
00:28:03But I couldn't do it in the museum.
00:28:05So I followed you to make you look at me.
00:28:08But all I could do was scare you.
00:28:13Well.
00:28:15See you tomorrow.
00:28:25See you tomorrow.
00:28:33I was never told I was special.
00:28:35Maybe he said it because I'm weird.
00:28:37You're a beautiful weirdo.
00:28:39Are you happy?
00:28:40Yes, I'm very happy.
00:28:41Thank you for your advice, Matute.
00:28:43You're welcome. You're my brother, man.
00:28:45Well, I'll leave you because I'm full.
00:28:47We'll talk later, okay?
00:28:48Okay.
00:28:49Bye.
00:28:50Bye.
00:28:52Is she really that pretty?
00:28:54You came in without knocking, Saula.
00:28:56It was open, Goyo.
00:28:59Did you hear my conversation with Matute?
00:29:01I heard you thanked her for her advice.
00:29:03That's all.
00:29:04I'm just going to eat at the restaurant with Julita.
00:29:10Do you like her?
00:29:11I don't know. I'll tell you when I'm done.
00:29:15If you like models, Goyo.
00:29:21Okay.
00:29:23And do they talk?
00:29:24Do you talk to her?
00:29:25Yes.
00:29:26Today we went to have a lemonade.
00:29:29Well.
00:29:30I'd like to meet her.
00:29:32The three of us can go have a lemonade.
00:29:36Julita is waiting for me downstairs.
00:29:39You have lunch in the oven, okay?
00:29:41See you later.
00:29:51Okay.
00:30:22You have to warn that woman.
00:30:24Don't even think about it.
00:30:26But it's very important that she knows about Goyo's condition.
00:30:29She must have noticed. She's a big girl.
00:30:32Big?
00:30:33How?
00:30:34Define big.
00:30:35Like us.
00:30:36Of our age.
00:30:37Sorry.
00:30:38Thank you very much.
00:30:39Excellent everything.
00:30:40Bye, Marquitos.
00:30:41Thank you.
00:30:42See you next time.
00:30:43He's not a kid anymore.
00:30:44Long live life.
00:30:45What if he gets hit by a car?
00:30:47What if he gets hit by a car?
00:30:49Long live life.
00:30:50What if he gets hit by a car?
00:30:52What if he gets hit by a car?
00:30:54Didn't you ever get hit by a car?
00:30:56I'm not Asperger.
00:30:57No.
00:30:58You're a lot of other things.
00:31:00Come on.
00:31:01Let him live.
00:31:02Nothing's going to happen to him if you let him go.
00:31:04No.
00:31:05Now you're going to start with that I'm controlling,
00:31:08overprotective,
00:31:09manipulative,
00:31:10or that I afflict him.
00:31:12No.
00:31:13That I sublimate my frustrated motherhood.
00:31:15Come on.
00:31:16Say it.
00:31:18Cutting with the white in the corners.
00:31:20It's wonderful.
00:31:21Say it.
00:31:22You're dying to say it.
00:31:23Goyo came up with it.
00:31:25I have a 2016 Cabernet Franc that you're going to love.
00:31:28Yes, well, stop.
00:31:29A woman our age, but how old?
00:31:31How old are you, Paula?
00:31:33A big woman.
00:31:36I'll be right back.
00:31:43Again, Goyo?
00:31:44You're going to drown.
00:31:45I told you a thousand times.
00:31:46Get out of there, please.
00:31:47Yes, Professor.
00:32:04Goyo!
00:32:14Hi, kid.
00:32:17Do I have to go?
00:32:19No, no.
00:32:23I was bored, so I went for a walk.
00:32:26And did you choose a very good place?
00:32:29Had you been to the museum before?
00:32:32No.
00:32:34And did you come alone?
00:32:36No, with my mom.
00:32:37She works here.
00:32:38And what's your mom's name?
00:32:39I also work here.
00:32:41Her name is Eva Montero.
00:32:42My mom told me not to go to the museum alone, but I was bored.
00:32:46Anduviera.
00:32:47What?
00:32:48You say anduviera or anduviese.
00:32:50Not andara.
00:32:51Preterite imperfect of the subjunctive.
00:32:55I'm Gregorio Villanueva, but they call me Goyo.
00:32:57I'm the Spanish guide of this museum.
00:32:59And I know your mother, Eva Montero.
00:33:02I'm Martina Aguirre, but they call me Tato.
00:33:05Nice to meet you, Tato.
00:33:07Likewise, Goyo.
00:33:08I take care of my sister in the morning.
00:33:13I honestly don't know what the hell I'm going to do.
00:33:16I have my life upside down.
00:33:19Day by day, friend.
00:33:20Yes.
00:33:22Day by day.
00:33:26Wow!
00:33:29Charlie.
00:33:31Charlie.
00:33:34He asked me for a coffee.
00:33:36I told him not today.
00:33:37Not today.
00:33:38Or tomorrow.
00:33:39Or the day after.
00:33:41It's okay.
00:33:42I don't know.
00:33:44These moments.
00:33:47Little words, little glances.
00:33:49Little words, little flowers.
00:33:52Whispers.
00:33:53I love them.
00:33:56Well, I also like the ones that follow.
00:34:00And I don't like the ones that follow the ones that follow.
00:34:02That's where all the shit goes.
00:34:05The chalices and incensors that the riders wear
00:34:07were looted from a church.
00:34:10And there are cut-off heads on the mounts.
00:34:12Do you see them?
00:34:13And the naked girl?
00:34:15She's a white captive.
00:34:17She's half-disappeared.
00:34:20They kidnapped her.
00:34:21Yes.
00:34:23It's a very interesting play.
00:34:24It's the first time a big picture has been painted
00:34:26on indigenous themes.
00:34:28I'm going to be president in 2051.
00:34:34I think that's great.
00:34:36You're going to have to prepare a lot for that then.
00:34:39Study, get to know the people, their problems, their needs.
00:34:43Oh, Eva Montero!
00:34:45We were learning the story of the return of the bad guy
00:34:47here with his son and future president of the Argentine nation.
00:34:50Ah, yes.
00:34:51Yes.
00:34:52I know everything.
00:34:53I know everything.
00:34:55Yes.
00:34:56Goyo knows everything that happened
00:34:57inside all the museum's paintings.
00:35:00Well, not everything exactly, but I do know a lot.
00:35:03Yes.
00:35:04Well, let's go?
00:35:06We'll be late.
00:35:10Well, thank you, Goyo.
00:35:12Have a good weekend for both of you.
00:35:13Thank you.
00:35:14Bye.
00:35:15Bye.
00:35:24Let's go!
00:35:25Let's go!
00:35:26Let's go!
00:35:27Let's go!
00:35:28Let's go!
00:35:29Let's go!
00:35:30Let's go!
00:35:31Let's go!
00:35:32Let's go!
00:35:35I don't think I can have sex the first time I see Eva Montero.
00:35:39Well, don't rush.
00:35:40Go at your own pace.
00:35:43Hey, watch it!
00:35:49I was researching sexuality and I saw a lot of things.
00:35:52Really?
00:35:53Were you watching porn?
00:35:56Yes, that too.
00:35:58But I couldn't see much.
00:35:59I went to a page, but then I closed it.
00:36:02What I did notice is that everything is very well organized by categories.
00:36:06Anal, bondage, ethnicity, big tits, small tits.
00:36:09Ah, you saw everything.
00:36:10Yes, yes, I saw something.
00:36:11I saw something.
00:36:12Masturbation, milk, bisexual, gay, orgies, missionary.
00:36:16And it has nothing to do with the province.
00:36:18Nor with religion.
00:36:19Missionary is a pose.
00:36:20Yes, I know what it is.
00:36:23Do you watch porn, Matute?
00:36:25We all watch, Goyito.
00:36:29And among the things you saw, did you see something that interested you?
00:36:34Some things yes, but I also saw others that I don't imagine Eva Montero can do.
00:36:39What do you know? You don't know her.
00:36:41In intimacy, people are capable of doing things that would surprise you.
00:36:46What things do you say she wouldn't do?
00:36:49Fisting, golden rain, white rain, eschatology.
00:36:52Ah, you saw a lot.
00:36:55Still, they are not things to do for the first time.
00:36:59The important thing is that you know what you like.
00:37:01Do you know what you like?
00:37:03I like what happens down there.
00:37:06When you get up.
00:37:09I like what happens above the penis in the glans.
00:37:12Yes, the glans is our most important erogenous zone.
00:37:15Women have the clitoris, we have the glans.
00:37:19Last night I dreamed that Eva Montero's lips kissed my glans.
00:37:23What?
00:37:25Last night I dreamed, I can't scream, that Eva Montero's lips kissed my glans.
00:37:29Beautiful dream, isn't it?
00:37:31Yes.
00:37:35She must have more experience than me. What do you think, Matute?
00:37:38Yes, yes, Goyito, I'm sure.
00:37:42Eat, it's getting cold.
00:37:48Invite her to dinner.
00:37:50Won't it be too soon?
00:37:52Not for this century.
00:37:54Listen to me.
00:37:56Invite her to dinner, she will say yes.
00:37:58Hey, careful, don't you see?
00:38:00No, you don't see me, right?
00:38:18Eva Montero.
00:38:20Sorry, I scared you again.
00:38:22It's ok.
00:38:24I'm sorry.
00:38:29Did you know that this museum guards a Van Gogh?
00:38:33No, I didn't know.
00:38:35Original.
00:38:43This is one of the first works that Vincent painted in Paris.
00:38:45In a letter, his brother Theo wrote,
00:38:48there is nothing like Paris.
00:38:50And as hard as life can be,
00:38:52the French air cleans the brain and does good.
00:38:57Would you like to have dinner with me?
00:39:04Me?
00:39:06Yes, you.
00:39:16And...
00:39:18Why me and not the other girls?
00:39:21Because...
00:39:23the other girls don't make me want to invite them to dinner.
00:39:32Goyo...
00:39:36You and I are very different.
00:39:40I'm older than you, a lot older than you.
00:39:43And...
00:39:45You know a lot of things that I don't.
00:39:48You could get bored with me.
00:39:50And you know a lot of things that I don't.
00:39:54Being different is something that you and I have in common, Eva Montero.
00:40:02This museum looks very different since you came to work here.
00:40:13Yes.
00:40:24I could do it on Saturday.
00:40:33I could do it at home.
00:40:37Do you live alone?
00:40:39No, with my sister Saula.
00:40:44She's not going to be here.
00:40:46Because she's going to be in Paraguay giving a concert.
00:40:49She's a piano concert artist.
00:40:51Her name is Saula Villanueva. Maybe you know her.
00:40:53No, no, no.
00:40:55Okay, you don't know her.
00:40:57We're going to be alone.
00:41:00Because she's not going to be here.
00:41:02If she accepts my proposal, of course.
00:41:04Yes.
00:41:13I love you.
00:41:37Did someone die?
00:41:39No.
00:41:41Why?
00:41:42I don't know.
00:41:44No.
00:41:46I use it to go out.
00:41:48When my mother died, you put it on.
00:41:51Yes.
00:41:53Are you going out?
00:41:55Yes.
00:41:57Maybe on Saturday with a friend.
00:41:59We'll see. I don't know yet.
00:42:01I'm going to tell Aunt Marce to stay with you and I'll make you some gnocchi.
00:42:04Okay.
00:42:06There's no more shampoo.
00:42:08I'll buy some tomorrow.
00:42:12Don't forget to stick to the bottom of the water.
00:42:15Do you understand?
00:42:17Now we're going to do it all.
00:42:19Good.
00:42:21Very good attitude, Goyo.
00:42:23Very good attitude, Goyo.
00:42:27Goyo!
00:42:30Goyo? Our Goyo?
00:42:33Yes.
00:42:35You're terrible.
00:42:37You almost reported him and now you go out with him.
00:42:39Am I an idiot now?
00:42:41I'm going out. I'm going to have dinner.
00:42:43Okay.
00:42:45Where are you going?
00:42:47Home.
00:42:49Come on, home.
00:42:51What?
00:42:53You're going out.
00:42:55Come on.
00:42:57You saw that he's weird.
00:42:59He has some problems.
00:43:03Have you ever gone out with a guy who doesn't know how to lie?
00:43:06Who tells you what he thinks?
00:43:09That he's polite.
00:43:11Very intelligent.
00:43:14That he's unable to do something bad to you.
00:43:17And that, besides everything, he's cute.
00:43:19Never say never.
00:43:22Me neither.
00:43:25I have a necklace to lend you.
00:43:31A very sexy necklace.
00:43:34Come on.
00:43:36Yes, it's true.
00:43:37No, come on.
00:43:39Prepare three topics of conversation in case the talk doesn't flow.
00:43:43Politics, never.
00:43:45Because it can ruin your night.
00:43:47The environment is a good topic.
00:43:49I'm going to show you how sensitive and worried someone is.
00:43:53And, of course, art, which is your thing.
00:43:57Without being too specific, because it can be a problem.
00:44:08Good evening.
00:44:10Good evening.
00:44:12I'll do it.
00:44:14Go ahead.
00:44:16Excuse me.
00:44:24What a house!
00:44:27It's a French neoclassic from the beginning of the last century.
00:44:32Vincent used the technique of fluid turbulence.
00:44:35If you look closely, it looks like the sky is moving.
00:44:39Yes, right?
00:44:41You're right.
00:44:43These guys are geniuses, aren't they?
00:44:46Well, they say they were a little crazy.
00:44:49And the truth is, to do what they did, they were a little crazy.
00:44:53That's an easy-going and ignorant thought, Eva Montero.
00:44:56There is no objective reality.
00:44:59Vincent had a beautiful and tormenting way of seeing reality.
00:45:02And what some people call madness is another way of being,
00:45:06thinking, feeling and being in the world, nothing more.
00:45:12Don't you think that everything is moving backwards?
00:45:16Oxymoron.
00:45:18It's a rhetorical figure with a contradictory meaning.
00:45:22Moving backwards, as you said.
00:45:25Living dead.
00:45:27Eternal moment.
00:45:29Thundering silence.
00:45:30Thundering silence?
00:45:32And more? More examples?
00:45:35Sure.
00:45:37What I mean is that instead of moving forward, we move backwards.
00:45:42For example, everyone has a cell phone.
00:45:45And yet we are increasingly disconnected.
00:46:01Did you like the food?
00:46:03Very good.
00:46:06I'll bring the dessert.
00:46:08No, no, you don't need to. You're my guest.
00:46:14Can you pass me the knife?
00:46:16Can I play music?
00:46:18Yes, of course. There's a speaker in the living room.
00:46:21You can connect your phone there if you want.
00:46:24That way?
00:46:26No, that way. Go ahead.
00:46:31Wine.
00:46:33You left me alone with the wine. Are you going to leave me alone with the champagne too?
00:46:38The truth is that I don't like alcohol very much.
00:46:42And this?
00:46:44Chocolate mousse with orange.
00:46:47Did your brother make it too?
00:46:49Yes, he did.
00:46:51And what is this?
00:46:53It's a chocolate mousse with orange.
00:46:56Did your brother make it too?
00:46:57It's a chocolate mousse with orange.
00:46:59Did your brother make it too?
00:47:01Yes, he did.
00:47:06I'm a pig, right?
00:47:08No, no, you're a woman.
00:47:27Well, I know you're a pig.
00:47:29You have a brother who cooks like the gods.
00:47:36A pianist sister. She's famous, right?
00:47:41Yes.
00:47:42She's beautiful.
00:47:44And the one next to her is your brother.
00:47:50Do you have parents?
00:47:52Mother, my father died in Vietnam.
00:47:54That's the one in that photo over there. Carlos Villanueva.
00:47:57What, did he die in the Vietnam War?
00:48:00No, no. The war was between November 1, 1955 and April 30, 1975.
00:48:07My father died in a traffic accident on an island called Phu Quoc,
00:48:11at dawn on October 2, 2005.
00:48:14Oh, look. Poor thing.
00:48:16My mother was an alcoholic.
00:48:18My father also drank a lot, just like my sister, Saula.
00:48:21He drank a lot.
00:48:22Okay.
00:48:25Is she your mother?
00:48:27No, she's Elena. She's the mother of my siblings.
00:48:30She died when I was a teenager from a massive myocardial infarction.
00:48:34And it was at the same table where we were having dinner tonight.
00:48:37That's where she died.
00:48:39And I'm the son of my father's second marriage.
00:48:42Okay.
00:48:45And there's no photo of your mother?
00:48:48No.
00:48:50Does she live?
00:48:52Yes, with her new partner, Felix Ruiz Allende.
00:48:55They live in Tierra del Fuego.
00:48:57My mother's name is Magdalena.
00:48:59Okay. And what does she do for a living?
00:49:02Nothing.
00:49:04Well, she's dedicated to being the wife of Luis Allende.
00:49:07Luis Allende.
00:49:09Well, and to being a mother too.
00:49:11Wife, yes. Mother, no.
00:49:13She has a hard time being a mother.
00:49:15Not all people are trained to have children.
00:49:18Can I ask you now?
00:49:20Yes.
00:49:22Okay. I know that at least she has a son.
00:49:25Yes.
00:49:27Because I met him, the future president.
00:49:29Yes. I have another one, who's older.
00:49:32We call him Cuti. His name is Christian.
00:49:35He's 16 years old.
00:49:37He has no idea what to do.
00:49:39But, well, he really likes to play football.
00:49:41He plays very well.
00:49:43Like his father, Miguel, who played at the time.
00:49:45But, well, he didn't make it.
00:49:49Miguel, does she have a husband?
00:49:56I don't know.
00:49:58You don't know if she has a husband?
00:50:00No, yes. Yes.
00:50:02Yes, I do have one.
00:50:04But, at the moment, we're apart.
00:50:06Actually, more than him.
00:50:09Yes.
00:50:12And, have you ever been happy with Miguel?
00:50:16Yes.
00:50:18Yes.
00:50:20At the beginning, yes.
00:50:22Then, well, everything changes.
00:50:25He changed, I changed.
00:50:30Actually, he doesn't understand what's happening to me.
00:50:33And I don't understand very well what's happening to me either.
00:50:37But he doesn't understand.
00:50:39He gets nervous and doesn't do things right.
00:50:42That's it.
00:50:46Can we change the subject a little bit?
00:50:49Yes, of course.
00:50:59It is estimated that the temperature of the planet increased 1.2 degrees this year.
00:51:04And with 6 degrees of increase, life on Earth, as we know it, would succumb.
00:51:10You know, I didn't get along with any man, but with none.
00:51:15Not even one.
00:51:17I read a statistic that says that the majority of humans don't exceed 60% of happiness.
00:51:23And in some cases, like Esquimals, spiritual teachers, or some tribes of the Amazon, they reach up to 80%.
00:51:30Oh, well.
00:51:32Then there are very rare people to be happy.
00:51:34According to the statistics, yes.
00:51:39Yes.
00:52:09I love you, but you forget me in April.
00:52:14In the closet, but I still love you.
00:52:18I don't like to wait, but I still wait for you.
00:52:24First, I love you.
00:52:28Oh, boy.
00:52:33You are so different from all the men out there.
00:52:36You are so...
00:52:43I love the way you are.
00:52:46I'm Asperger. Maybe that's what you mean.
00:52:50Yes, maybe.
00:53:00Does it bother you that I'm like this?
00:53:02No, it doesn't bother me.
00:53:03No.
00:53:05Otherwise, I wouldn't be here.
00:53:08But I'm a little worried because...
00:53:11I don't know.
00:53:16I've never been with someone like you.
00:53:29I have to pee.
00:53:30I have to pee.
00:53:32Oh, yes.
00:53:34The bathroom is over there.
00:53:37To the right.
00:54:01Oh.
00:54:12Vasha?
00:54:16Vasha?
00:54:22Vasha?
00:54:30Vasha?
00:55:00Vasha?
00:55:02Vasha?
00:55:04Vasha?
00:55:06Vasha?
00:55:08Vasha?
00:55:10Vasha?
00:55:12Vasha?
00:55:14Vasha?
00:55:16Vasha?
00:55:18Vasha?
00:55:20Vasha?
00:55:22Vasha?
00:55:24Vasha?
00:55:26Vasha?
00:55:28Vasha?
00:55:30Vasha?
00:56:01Eva Montero.
00:56:02Oh, it's you.
00:56:03Hi.
00:56:04I'm sorry.
00:56:06I came up because I couldn't find you.
00:56:08Is this me?
00:56:10It's not finished yet.
00:56:13Oh.
00:56:16And how did you copy me?
00:56:19Well...
00:56:21I don't know.
00:56:23I don't know.
00:56:25I don't know.
00:56:27I don't know.
00:56:28Where did you come from?
00:56:30From my head.
00:56:32It was the day I met you.
00:56:36It was the day you came to work at the museum and it was raining and you were fighting with an umbrella in the corner.
00:56:48When you finish it, if you like it, I can give it to you.
00:56:59Thank you.
00:57:12Did you decorate this?
00:57:14Yes, with the help of a friend of my sister Saula.
00:57:18Her name is Julia Di Pietro. Maybe she knows her.
00:57:21No, no, no. I don't know anyone.
00:57:24You don't know her either?
00:57:25No.
00:57:28Come here.
00:57:34Come here.
00:57:44Come here.
00:57:46Yes.
00:57:53Come and lie down.
00:57:59Come here.
00:58:11Hug me.
00:58:29There, where Eva was, was paradise.
00:58:33That's what Mark Twain wrote to Dan in the epitaph of Eva's grave.
00:58:58I love you.
00:58:59I love you.
00:59:27We are kissing, Eva Montero.
00:59:29Yes.
00:59:35Yes.
00:59:37Yes.
00:59:39Yes.
00:59:59Yes.
01:00:01Yes.
01:00:30Man!
01:00:46Good morning.
01:00:47Good morning.
01:00:49Are you leaving?
01:00:50Yes, I'm leaving because my sister is taking care of the president.
01:00:55Ah, yes.
01:00:56Yes.
01:00:59Do you want to have breakfast before?
01:01:01No, no, no. I'm fine. Thank you.
01:01:04Do you want a car?
01:01:05No, no, no. It's not necessary. I'll take the subway.
01:01:08The subway is a few blocks from here.
01:01:10If you want, I can ask for a car that will arrive earlier and will travel more comfortably.
01:01:16I'm going to get the phone.
01:01:17Okay.
01:01:22Did you have a good time?
01:01:23Yes, yes, yes. I had a great time.
01:01:26Yes, the painting was beautiful.
01:01:32Well, I'm going. Bye.
01:01:34Bye.
01:01:36Thank you.
01:01:37Send me a message when you get there, so I'll be calm.
01:01:39Okay.
01:01:40Good morning.
01:01:56Good morning.
01:02:16What do you have here?
01:02:17I'm going to the nursery, to the protection, to the wheat, to the game.
01:02:22No, the mothers are coming. Good evening.
01:02:24What are you doing here?
01:02:25I came to see my children.
01:02:26This one alone, because the other one went to live with his girlfriend.
01:02:28I met him yesterday and he told me that he was going to live with his girlfriend.
01:02:30It's crazy, isn't it?
01:02:32Aunt Marcia, my love.
01:02:33What happened?
01:02:34I sent her home. I told her to go.
01:02:37I'm here. Why should I be here?
01:02:38She has things to do at home and they tell her to go there.
01:02:41Oh, and you know what?
01:02:42I got a job.
01:02:43In a laundry.
01:02:45That's good. I'm glad.
01:02:48Are you glad?
01:02:49That's what it's like when you're happy.
01:02:51No, if you're happy, you have to say,
01:02:53Oh, good, good. What happiness.
01:02:55Now you have a job. We'll be able to go back. Everything.
01:02:58No, no, no. You can't go back.
01:03:01What do you mean, no?
01:03:02No.
01:03:07What do you mean, I can't go back?
01:03:09I don't know.
01:03:11What's wrong with you? How can you tell me I can't go back?
01:03:13I broke the egg to get a job.
01:03:15I got a job.
01:03:16And you tell me I can't go back?
01:03:18I'm doing the homework with the baby.
01:03:20I get a job.
01:03:21I do everything you asked.
01:03:22And now you tell me I can't go back.
01:03:24What the fuck is wrong with you?
01:03:26Tell me what the fuck is wrong with you.
01:03:27What do you want?
01:03:28I want you to leave.
01:03:29I want you to leave.
01:03:30Where am I going to go?
01:03:32No, I'm not going anywhere.
01:03:33This is my house. These are my children.
01:03:34No, I'm not going anywhere.
01:03:35I think you're dating someone, right?
01:03:37You're dating someone.
01:03:38You're dating someone.
01:03:39Tell the truth. Come on, tell the truth.
01:03:40Tell him.
01:03:41Tell him.
01:03:42Come on.
01:03:43Stop. Stop.
01:03:44Stop it.
01:03:45Let go of me.
01:03:46I'm doing things right.
01:03:47You have to respect me.
01:03:48Let go of me.
01:03:49Tell him.
01:03:51No, wait.
01:03:52Wait.
01:03:54Wait.
01:03:55I'm sorry.
01:03:56No.
01:03:57No.
01:03:58No, wait!
01:03:59I didn't do it on purpose.
01:04:00Get out!
01:04:01Danni!
01:04:02Come here!
01:04:03I'm leaving.
01:04:04Go away.
01:04:05It's okay, sweetheart.
01:04:06It's okay.
01:04:07It's okay.
01:04:08It's okay.
01:04:09Oh, my fucking God.
01:04:10What do we do?
01:04:11Fuck!
01:04:12It's okay.
01:04:13It's okay.
01:04:14It's okay, sweetie.
01:04:15Listen to me.
01:04:16Let him stay here.
01:04:17Yes, yes, I have to go, I was coming back.
01:04:19Oh, my love.
01:04:21It's over, it's over, my love.
01:04:24It's over.
01:04:25Do one thing, bring me some ice here, okay?
01:04:36You took her, you let her take you.
01:04:38She proposed almost everything.
01:04:40And I accompanied her, I think very well.
01:04:42Good.
01:04:43Did you like it?
01:04:44Yes, a lot.
01:04:45Good, good.
01:04:46Now, calm down, don't let it get to you.
01:04:49The symptom of the day after is fundamental.
01:04:51Maybe the girl gets up happy,
01:04:53or maybe she gets up with the desire to have a shot in the concha.
01:04:56Why would she have a shot in the concha, Matute?
01:04:58It's a way of saying she didn't like it.
01:05:01She said she had a great time.
01:05:03Then she had a great time and period.
01:05:05Yes, she smiled 17 times and gave 8.
01:05:08That's a lot, huh?
01:05:10Well, now calm down.
01:05:13Wait for her to give a signal, so we know where we are.
01:05:16Yes.
01:05:21Matute.
01:05:22What?
01:05:23I asked her to send me a message when she got home,
01:05:25but she hasn't done it yet.
01:05:27I wrote 12 and 42,
01:05:29but I still haven't seen the message because it hasn't arrived yet.
01:05:31Look, it only has one line, it doesn't have both.
01:05:33Yes, I see, I see.
01:05:34Now save the phone, because we're going to watch the game.
01:05:36Save it.
01:05:37Save it.
01:05:41Four!
01:05:42I'd fuck you, but I don't know your name!
01:05:47It's weird that she doesn't answer, isn't it, Matute?
01:05:49Run, baby, run!
01:05:51That kid is 20 years old, run!
01:05:55What do you think, did she have a good time?
01:05:57All of them, all of them, all of them, here, here!
01:06:02Where are you going?
01:06:04Are you going to pee?
01:06:05Excuse me.
01:06:06Hey, Goyo!
01:06:07Excuse me.
01:06:08Hey, did you call me?
01:06:09Goyo!
01:06:10They're calling you.
01:06:11Where are you going?
01:06:12I'm talking to you and you don't listen to me.
01:06:14I'm listening, asshole.
01:06:15Did the boyfriends fight?
01:06:18He's my brother, asshole.
01:06:19Your brother, asshole?
01:06:21Goyo!
01:06:24Goyo!
01:06:26Gregorio, can you wait?
01:06:30Can you tell me what the fuck is wrong with you?
01:06:33Very important things that don't interest you.
01:06:35But if you didn't stop talking, I heard everything.
01:06:37You said something different.
01:06:40You know what?
01:06:41You're a fucking egoist.
01:06:43I organized the whole plan, I came to the field to be with you.
01:06:46So that homosexuals scream at us.
01:06:48Fuckers screamed at us, which is much worse.
01:06:50And it was because you set up a whole little scene in front of everyone.
01:06:53It wasn't my fault.
01:06:54It was your fault.
01:06:55No, it wasn't my fault.
01:06:56Yes, it was your fault.
01:07:02I know what's wrong with you.
01:07:03I know what's wrong with you.
01:07:05You took it once and fell in love like an idiot.
01:07:08And now you're all fucked up because you think the girl won't like you.
01:07:11Or not?
01:07:13Since I went to pick you up, you've been on the phone.
01:07:15And the line, and the line.
01:07:18You ruined my plan.
01:07:20I have nothing to do with it.
01:07:21I didn't do anything, asshole.
01:07:23You know what?
01:07:24Go away.
01:07:25I can't hear you.
01:07:33Fuck.
01:08:04Look at your mother.
01:08:06Look what she did to you.
01:08:07Do you want us to go to the police to see you?
01:08:09No, I'm fine, I'm fine.
01:08:10No, come on, let's go.
01:08:11I'm fine, I'm fine, I'm fine.
01:08:12No?
01:08:13Don't worry, I'm fine.
01:08:14You know Romy?
01:08:16And how long do you think her old men are going to beat you up?
01:08:20Come on, Cuti.
01:08:22You have to do something with your life.
01:08:23I know.
01:08:24You can't go on like this.
01:08:25I know, I know, I know.
01:08:26Maybe they'll hire me at the bar.
01:08:29The bachelor becomes beautiful, so stay there.
01:08:31Okay.
01:08:34Do you want me to stay?
01:08:37I mean, so this doesn't happen to you again.
01:08:41Okay.
01:08:43Okay.
01:09:04Three for a thousand, one for five hundred.
01:09:10Call him, please.
01:09:12Three for a thousand, one for five hundred.
01:09:14Do you want one, daddy?
01:09:22Yes?
01:09:24Good afternoon.
01:09:25I'm looking for Mrs. Eva Montero.
01:09:27What part?
01:09:29Goyo.
01:09:30Child.
01:09:31He's Goyo, his mom's friend.
01:09:32Come in, come in.
01:09:33Now tell him you're here.
01:09:34Okay.
01:09:36You must be Cuti.
01:09:38Excuse me.
01:09:39Cuti.
01:09:44Mom?
01:09:45Yes?
01:09:46Goyo's here.
01:09:47Who?
01:09:48Hi, Eva Montero.
01:09:50What are you doing here?
01:09:52I asked him to send me a message when he got home, but he didn't send it.
01:09:56And I wrote you a message, but he didn't answer it.
01:09:59He didn't get the message either.
01:10:01So I was worried.
01:10:02And I came.
01:10:03My mom broke her phone.
01:10:06Yes.
01:10:07That explains everything.
01:10:09This is for you, child.
01:10:11Thank you.
01:10:16Goyo, how did you know my address?
01:10:18Because it was recorded on my phone when I asked for the remit this morning at my house.
01:10:24Oh, yes.
01:10:25Look, a little Argentine barrel.
01:10:27How nice, son.
01:10:28I also brought this plantain, which can be for you or for Cuti.
01:10:32No, no, give it to me.
01:10:33Give it to me.
01:10:35For you, then.
01:10:36How nice.
01:10:38Very nice.
01:10:39You have a bruise there.
01:10:40Yes, yes, yes.
01:10:41I hit myself on the street.
01:10:42I fell a little while ago.
01:10:44I'm going to put water for a matecito.
01:10:46Do you want?
01:10:47No.
01:10:48No.
01:10:49A tea?
01:10:50Yes.
01:10:51Give it.
01:10:54Can I help you with that, child?
01:10:55Yes, come.
01:10:59Thank you.
01:11:07What's up with this guy?
01:11:09What cage did you get him out of?
01:11:10Don't say that.
01:11:12He's a colleague of mine from work.
01:11:16Are you brushing him?
01:11:18Don't talk to me like that, I'm your mother.
01:11:19Yes or no?
01:11:21He said you were at home last night, Mom.
01:11:23Please, I beg you, Cuti.
01:11:24Don't make me regret letting you come back.
01:11:26Come on.
01:11:30I'm going to get the thing about Romy.
01:11:32Okay.
01:11:56How are you?
01:11:57Good.
01:12:14How are you?
01:12:15Good.
01:12:26It's really high, isn't it?
01:12:27Yes.
01:12:38I'll call you.
01:12:39And if it's not too late, I'll stop by your house.
01:12:41Okay?
01:12:43He's here.
01:12:44I send you a kiss.
01:12:45Goyo!
01:12:46I called you 40 times.
01:12:47What happened?
01:12:48Did they steal your phone?
01:12:49No, I ran out of battery.
01:12:51Where did you go?
01:12:56How was your concert in Paraguay, Saula?
01:12:58Good.
01:12:59No, I didn't like it at all.
01:13:00I have to keep working, but people loved it.
01:13:02Come on, man, are you still mad?
01:13:04Where did you go?
01:13:05I went to Patricio's Park.
01:13:06Why to Patricio's Park?
01:13:08Did you go to see Eva?
01:13:10Does she live in Patricio's Park?
01:13:11Yes.
01:13:12Wait.
01:13:14Did you have sex with that woman?
01:13:17Yes, I did.
01:13:18Today, there, at Patricio's Park?
01:13:20No, yesterday, here.
01:13:21They had dinner here.
01:13:23Did you know everything?
01:13:24Eva Montero's phone broke and that's why she didn't answer.
01:13:28She also had a blow to her face.
01:13:29She says it was because she fell down the street.
01:13:31But I know that's not true.
01:13:33Because she didn't have a scratch.
01:13:34She had a bruise.
01:13:35You can get into a mess.
01:13:37Every couple is a world.
01:13:39Sometimes they break up, but they don't really break up.
01:13:41Is she married?
01:13:44No, you're not going back to Patricio's Park,
01:13:46nor are you going to see that woman again, Goyo.
01:13:48Why?
01:13:49Why not, Saula?
01:13:50Because it's dangerous.
01:13:51Because if the husband is violent, he can hurt you too.
01:13:54You don't know what you're getting into.
01:13:55How do you know that it was the husband who hit her?
01:13:58No, well, I don't know, but it's obvious.
01:14:01Well, well.
01:14:02Go rest for a while,
01:14:03and then the three of us will have dinner together.
01:14:05Calm down.
01:14:11I'm going to see Eva Montero again.
01:14:19We have to stop this now.
01:14:20That woman has him by the balls.
01:14:22She took advantage of the fact that I wasn't there
01:14:23to get into the house.
01:14:24She tells him a story, he picks it up,
01:14:26he goes crazy, of course,
01:14:27and she comes back with the husband.
01:14:29Typical user.
01:14:31What's in your head?
01:14:32I can't believe it.
01:14:33There's a good girl out there.
01:14:35Excuse me, what am I seeing?
01:14:36Goyo found me the bottles.
01:14:39He put the piano on you,
01:14:40that she's alive, that he found the perfect opportunity.
01:14:42I'm going to the museum and I'm going to talk to her.
01:14:44Don't go.
01:14:45You're going to ruin his story.
01:14:46He's a big boy.
01:14:47And Asperger.
01:14:48He's happy.
01:14:49Let's bank him.
01:14:51Let's bank him.
01:14:52Let's bank him.
01:14:54Let's bank him.
01:14:55And let him be famous.
01:14:56Very famous.
01:15:21It's there.
01:15:23In the sink?
01:15:24Yes.
01:15:39Wait for me here.
01:15:51Mr. Miguel?
01:15:57Mr. Miguel Aguirre?
01:16:07Good morning, Mr. Miguel Aguirre.
01:16:09Excuse me.
01:16:10I'm not going to steal more than a minute.
01:16:12I'm here to talk to you about Eva Montero.
01:16:15Who are you?
01:16:16Gregorio Villanueva.
01:16:18I work with her at the Museum of Fine Arts.
01:16:21Eva is a great woman and deserves a good man by her side.
01:16:25Someone who knows how to take care of her and love her responsibly.
01:16:31She has a bruise on her face.
01:16:33And I don't think it was on the street, as she says.
01:16:37So, if it was you who hit her,
01:16:40I come to ask you not to hurt her anymore.
01:16:44Stop, Miguel!
01:16:45What's wrong with you?
01:16:46Stop, Negro!
01:16:47What the hell is wrong with you?
01:16:48Stop!
01:16:49What's wrong with you?
01:16:50I just came to tell you what I have to do.
01:16:52Stop, Negro!
01:16:53What's wrong with you?
01:16:54Stop!
01:16:55What's wrong with you, Salame?
01:16:56Stop!
01:16:57Stupid!
01:16:58Where did your mom comb your hair, Salame?
01:17:00What's wrong with you, Salame?
01:17:10Did you know that a guy vomited in front of Rembrandt yesterday?
01:17:13You have to be very stupid to vomit Rembrandt in his face.
01:17:16There you go.
01:17:17I'm still on my way, guys.
01:17:19The Tanos are waiting for me.
01:17:21Hi, Miranda.
01:17:22Hi, Eva.
01:17:23Good morning.
01:17:24Excuse me.
01:17:25Can I talk to you for a second?
01:17:28I'll go to the bathroom, guys.
01:17:31Thank you.
01:17:32You're welcome.
01:17:37Is it true?
01:17:39Did you go to my husband's job?
01:17:43Why?
01:17:46He hurts her, Eva Montero.
01:17:48Why do you meddle?
01:17:50Why?
01:17:51I don't need your help.
01:17:53Now it's worse.
01:17:55He thinks that I don't want to be with him
01:17:58because I'm hooked on another guy
01:17:59and you go and confirm it.
01:18:01No, Goyo, no.
01:18:04I don't need you to protect me.
01:18:07You're nobody to protect me.
01:18:09We made love, you and me, on Saturday night.
01:18:12So?
01:18:14Is that why you think we're dating?
01:18:16No, Goyo, it's not like that.
01:18:18It was wrong.
01:18:19But it's not your fault.
01:18:21It's my fault.
01:18:22Because I let myself go.
01:18:24It's not wrong to let yourself go.
01:18:26Yes, it's wrong.
01:18:27It's very wrong.
01:18:28It was very wrong.
01:18:29Everything was wrong.
01:18:30I needed to be with you.
01:18:32To talk like we talk.
01:18:34To treat me like you treat me.
01:18:36I didn't think about you.
01:18:38Do you understand?
01:18:39No, I don't understand.
01:18:42Goyo.
01:18:46Look at me for a second, please.
01:18:48Goyo, what happened was wrong.
01:18:50Because now you're expecting something from me
01:18:52that I can't give you.
01:18:53Do you understand now?
01:18:54No, I don't understand.
01:18:56I don't understand, no.
01:18:58I don't understand!
01:19:21Goyo!
01:19:24Goyo!
01:19:25Goyo!
01:19:26Goyo!
01:19:27Goyo!
01:19:28Goyo!
01:19:29Goyo!
01:19:30Goyo!
01:19:31Goyo!
01:19:32Goyo!
01:19:33Goyo!
01:19:34Goyo!
01:19:35Goyo!
01:19:36Goyo!
01:19:37Goyo!
01:19:38Goyo!
01:19:39Goyo!
01:19:40Goyo!
01:19:41Goyo!
01:19:42Goyo!
01:19:43Goyo!
01:19:44Goyo!
01:19:45Goyo!
01:19:46Goyo!
01:19:47Goyo!
01:19:48Goyo!
01:19:49Goyo!
01:19:50Goyo!
01:19:51Goyo!
01:19:52Goyo!
01:19:53Goyo!
01:19:54Goyo!
01:19:55Goyo!
01:19:56Goyo!
01:19:57Goyo!
01:19:58Goyo!
01:19:59Goyo!
01:20:00Goyo!
01:20:01Goyo!
01:20:02Goyo!
01:20:03Goyo!
01:20:04Goyo!
01:20:05Goyo!
01:20:06Goyo!
01:20:07Goyo!
01:20:08Goyo!
01:20:09Goyo!
01:20:10Goyo!
01:20:11Goyo!
01:20:12Goyo!
01:20:13Goyo!
01:20:14Goyo!
01:20:15Goyo!
01:20:16Goyo!
01:20:17Goyo!
01:20:18Goyo!
01:20:19Goyo!
01:20:20Goyo!
01:20:22Well, Goyo.
01:20:23It could have been a tragedy.
01:20:26Yes.
01:20:27Yes, I know, I know.
01:20:28Oh really, you know?
01:20:29So you knew about my brother's condition?
01:20:34Yes, yes.
01:20:35But you didn't find it important?
01:20:36Or it matters a lot to you?
01:20:40No, what is it to me, Goyo?
01:20:43Is it to me?
01:20:45I wouldn't be understanding you.
01:20:48When,
01:20:49When we were together, I thought about his condition, but then I stopped thinking about it.
01:21:02It was very beautiful for both of us.
01:21:07I understand that it was wrong, but at the same time, it's a bit confusing.
01:21:12I never knew anyone like Goyo.
01:21:21It was very good for me to be with him.
01:21:25But it's very clear that you don't do him any good.
01:21:29That's something you're going to have to take into account after what happened.
01:21:37I didn't want to hurt him.
01:21:39But you hurt him anyway.
01:22:10What are you doing?
01:22:13You can't smoke anywhere here.
01:22:15So what? It's a hospital.
01:22:17He tried to kill himself, you realize that, right?
01:22:20No. He was very distressed, stunned, and lost control.
01:22:24Oh, please, Matute, don't be so negative.
01:22:27He stopped in the middle of Libertador Avenue.
01:22:29I've never done anything like that.
01:22:31And he fell into the hands of an unscrupulous woman, I told you.
01:22:34Because she's not an idiot who doesn't know what she's doing.
01:22:36I don't know.
01:22:38Anyway, that's it. I won't see him again.
01:22:40What did you do? Did you talk to her?
01:22:43Of course.
01:22:45Oh, and you know what?
01:22:47I don't give a damn if you tell me he's a big man,
01:22:49that he lets him go, that he can do it alone.
01:22:51He can't do it alone. Look where he is.
01:22:56What are you doing?
01:22:58He fell.
01:23:07Welcome, Magdalena.
01:23:09Thank you.
01:23:12Is Gregorio in his room?
01:23:14Yes, I'll let him know.
01:23:16No, there's no need.
01:23:18Sauna, don't worry, he knows who I am. Don't worry.
01:23:32Your brothers told me everything.
01:23:37Do you hear me?
01:23:43Time takes its toll, you know?
01:23:49It makes us old.
01:23:53But it has a virtue.
01:23:56Everything that seemed important to us, very important,
01:24:01becomes an anecdote.
01:24:03Or a memory.
01:24:06I will never forget Eva Montero.
01:24:21I won't touch you.
01:24:24I won't touch you.
01:24:32I won't touch you.
01:24:34I won't touch you.
01:25:02I won't touch you.
01:25:10Look how pretty she is.
01:25:13Let's see, can I?
01:25:15Look.
01:25:17This one lights you up a lot.
01:25:19And all the girls in the universe would fall in love with you.
01:25:22I'm serious, I'm telling you.
01:25:24Well, I bought you a classic too, because I know you're a classic.
01:25:27Let's see.
01:25:29Do you like it?
01:25:32Do you want to try it?
01:25:35I'll try it later.
01:25:38Okay.
01:25:40Do it whenever you want.
01:25:46Hi.
01:25:48Hi.
01:25:49How are you?
01:25:51Do you know anything about Bollo?
01:25:53Yes, I have a license.
01:25:55Until when?
01:25:57And no.
01:25:59Okay.
01:26:02See you later.
01:26:07You're treating me like an old man.
01:26:09No, like a chauvinist.
01:26:11Exactly, like a chauvinist.
01:26:13Bollo won't come down.
01:26:15I'm going out for a while.
01:26:17Magdalena, it's not good that you're encouraging him to be a woman conqueror right now.
01:26:23Sorry, I don't understand.
01:26:28This is because of the shirts I bought him, right?
01:26:30No.
01:26:32But we were alone, Gregorio and I, when I showed them to him.
01:26:35Where were you?
01:26:38I don't agree with you, Saula.
01:26:41Bollo is not a boy anymore, we all know that.
01:26:44He's a man.
01:26:46He's a man who was rejected, and he acts as such.
01:26:49Like a man who was rejected, right?
01:26:51No, because he's obsessed with that woman.
01:26:53And you're pushing him to see her again.
01:26:55Do you want the same thing to happen to him now, or worse?
01:26:58Saula, stop.
01:27:01He's going to go through what he has to go through.
01:27:04Without your intervention.
01:27:06And he's going to be fine.
01:27:08That's what you want.
01:27:10That everything is always fine.
01:27:12Don't you want him to be fine?
01:27:14Don't push me with that.
01:27:16Because you want everything to be fine, but for you, not for him.
01:27:18You want to go back to your little corner at the end of the world,
01:27:20calm, without guilt, as fast as possible, and drown here.
01:27:22Stop, Saula.
01:27:24I didn't come for this.
01:27:26What did you come for?
01:27:28To see my son.
01:27:30You think I don't love him, don't you?
01:27:32That I never loved him.
01:27:34Loving someone is something quite complex.
01:27:36Well, people, let's calm down.
01:27:38This is not the time to talk about this.
01:27:40We have to think about Goyo.
01:27:42Please.
01:27:44You want me to feel guilty, don't you?
01:27:46I don't need your participation.
01:27:48I feel guilty on my own.
01:27:50Because I gave birth to him.
01:27:52He came out of me, he came out of here, and he came out like this.
01:27:54Magda, no one is guilty of that.
01:27:56It's incredible.
01:27:57I understand him in a thousand ways.
01:28:00But I don't understand him.
01:28:02And he doesn't understand me.
01:28:04It's very frustrating and very painful
01:28:08not being able to connect with your own son, you know?
01:28:13I could never give him what he needed
01:28:15because I don't know what the hell he needs.
01:28:19But it seems that you do, you do understand, don't you?
01:28:22Here, the only disabled person is me.
01:28:24Goyo is not disabled.
01:28:25You didn't even understand that.
01:28:27Let me go through one, damn it!
01:28:29Don't hate me so much!
01:28:32I never got involved in this family.
01:28:34I know.
01:28:36Neither as a wife, nor as a mother,
01:28:38nor as a stepmother.
01:28:43Besides,
01:28:45I heard that you said
01:28:47that I had killed your father
01:28:50on those ridiculous holidays in Vietnam, didn't I?
01:28:53No.
01:28:55I had my seatbelt fastened, you know?
01:28:57They hit us from behind.
01:28:59You were driving drunk, Magdalena.
01:29:01Do you remember your father?
01:29:03He was obviously more drunk than I was.
01:29:06Someone had to drive.
01:29:09And he died.
01:29:14And everything collapsed.
01:29:17And I didn't know what to do.
01:29:19And I went very far away
01:29:21and I met Felix.
01:29:23He understood me.
01:29:26He had also gone very far away.
01:29:29The countryside is a good hiding place.
01:29:34And I was selfish.
01:29:38I was irresponsible.
01:29:41I was useless.
01:29:44I was guilty.
01:29:48I was a bad mother.
01:29:53I was what I could be.
01:29:56Or what I couldn't be.
01:30:00Until I was nothing.
01:30:09I'm going to see Julita.
01:30:17I don't deserve this.
01:30:22I don't know if my son wanted to kill himself.
01:30:25I don't understand.
01:30:27I don't understand.
01:30:29It's very difficult for me.
01:30:34I have to learn.
01:30:38I have to learn to understand.
01:30:43I'm fine, right?
01:30:48Eva.
01:30:52Eva.
01:31:23Eva.
01:31:37What are you doing here, Saula?
01:31:39You have to forget that woman.
01:31:41No.
01:31:43She is totally different from you.
01:31:45She has a totally different life from yours, Goyo.
01:31:47You don't know Eva Montero, Saula.
01:31:49Yes, I don't know her, but I see what happens to you because of her.
01:31:50What happens to me is not because of Eva Montero, Saula.
01:31:53Don't scream, please.
01:31:55Eva Montero is not to blame.
01:31:57She is not to blame for what happens to me.
01:31:59A lot of things happen to her that you don't know, Saula.
01:32:02What Eva Montero needs to be happy
01:32:05is something she doesn't know.
01:32:07Because with what she knows, she didn't do well.
01:32:10She is afraid.
01:32:12And fear doesn't let her think.
01:32:14And when we were together,
01:32:16she was happy, but then she thought again.
01:32:21I love you and I worry about you.
01:32:23That's it.
01:32:26If you're not going to accept Eva Montero,
01:32:28then I can't accept that you worry about me, Saula.
01:32:50I love you.
01:33:21Good morning.
01:33:23Good morning, ma'am.
01:33:25What?
01:33:27Do you want to take the voice?
01:33:32No.
01:33:34I'll take the voice.
01:33:38Do you want coffee?
01:33:40It's just made.
01:33:42Yes, thank you.
01:33:44Excuse me.
01:33:51You look great.
01:33:54You look great in your smock.
01:33:57It's for special occasions.
01:34:00Of course.
01:34:02You look great.
01:34:04You look great in your smock.
01:34:06It's for special occasions.
01:34:08Of course.
01:34:10You look great in your smock.
01:34:11Of course.
01:34:16What a beautiful work.
01:34:21Is she your muse?
01:34:23No.
01:34:25Of course.
01:34:28Like the muses of the Renaissance,
01:34:30like Simonetta Vespucci.
01:34:32You know who I'm talking about, right?
01:34:35Yes.
01:34:37Of course, you know a lot about art.
01:34:38Yes.
01:34:41The muses came into the life of the artists
01:34:44to inspire them,
01:34:47to enlighten them.
01:34:51And that's very good.
01:34:53Even if it's little,
01:34:55even if it's just that,
01:34:58it's a lot.
01:35:00It's wonderful.
01:35:02Isn't it?
01:35:08Yes.
01:35:38It's wonderful.
01:36:08It's wonderful.
01:36:38It's wonderful.
01:37:08It's wonderful.
01:37:38It's wonderful.
01:38:08It's wonderful.
01:38:34Good morning.
01:38:36Good morning, ma'am.
01:38:39Well, I'm leaving.
01:38:42Have a good trip.
01:38:44Greetings to Felix.
01:38:46I'll give him your share, of course.
01:39:08Bye.
01:39:22Shall we?
01:39:24Yes.
01:39:38Bye.
01:40:08Bye.
01:40:09Bye.
01:40:38Bye.
01:40:55You have to buy a new umbrella, Eva Montero.
01:40:58Yes.
01:41:01Have you finished?
01:41:08Do you still think it was a mistake to have been with me
01:41:10on Saturday, October 27th, at night?
01:41:12No.
01:41:15I hurt you, Goyo. I hurt you.
01:41:18I told you it was bad for the relationship.
01:41:21We're all a little defective.
01:41:24But something worse is happening to you.
01:41:28You've lost faith in yourself.
01:41:32You're lost looking for something you already have.
01:41:34You have yourself, who is a powerful woman,
01:41:36but thinks she's weak.
01:41:38She also has two healthy children who love her.
01:41:41One is going to be president of the nation.
01:41:45And she has me.
01:41:48I'm very different from all the men she's been with.
01:41:52But the only one who wants to love her,
01:41:55is the way she is.
01:41:59Lost and defective.
01:42:08LOST AND DEFECTIVE
01:42:38LOST AND DEFECTIVE
01:43:08LOST AND DEFECTIVE
01:43:10LOST AND DEFECTIVE
01:43:12LOST AND DEFECTIVE
01:43:14LOST AND DEFECTIVE
01:43:16LOST AND DEFECTIVE
01:43:18LOST AND DEFECTIVE
01:43:20LOST AND DEFECTIVE
01:43:22LOST AND DEFECTIVE
01:43:24LOST AND DEFECTIVE
01:43:26LOST AND DEFECTIVE
01:43:28LOST AND DEFECTIVE
01:43:30LOST AND DEFECTIVE
01:43:32LOST AND DEFECTIVE
01:43:34LOST AND DEFECTIVE
01:43:35LOST AND DEFECTIVE
01:43:37LOST AND DEFECTIVE
01:43:39LOST AND DEFECTIVE
01:43:41LOST AND DEFECTIVE
01:43:43LOST AND DEFECTIVE
01:43:45LOST AND DEFECTIVE
01:43:47LOST AND DEFECTIVE
01:43:49LOST AND DEFECTIVE
01:43:51LOST AND DEFECTIVE
01:43:53LOST AND DEFECTIVE
01:43:55LOST AND DEFECTIVE
01:43:57LOST AND DEFECTIVE
01:43:59LOST AND DEFECTIVE
01:44:01LOST AND DEFECTIVE
01:44:03LOST AND DEFECTIVE
01:44:05LOST AND DEFECTIVE
01:44:07LOST AND DEFECTIVE
01:44:09LOST AND DEFECTIVE
01:44:11LOST AND DEFECTIVE
01:44:13LOST AND DEFECTIVE
01:44:15LOST AND DEFECTIVE
01:44:17LOST AND DEFECTIVE
01:44:19LOST AND DEFECTIVE
01:44:21LOST AND DEFECTIVE
01:44:23LOST AND DEFECTIVE
01:44:25LOST AND DEFECTIVE
01:44:27LOST AND DEFECTIVE
01:44:29LOST AND DEFECTIVE
01:44:31LOST AND DEFECTIVE
01:44:33LOST AND DEFECTIVE
01:44:35LOST AND DEFECTIVE
01:44:37LOST AND DEFECTIVE
01:44:39LOST AND DEFECTIVE
01:44:41LOST AND DEFECTIVE
01:44:43LOST AND DEFECTIVE
01:44:45LOST AND DEFECTIVE
01:44:47LOST AND DEFECTIVE
01:44:49LOST AND DEFECTIVE
01:44:51LOST AND DEFECTIVE
01:44:53LOST AND DEFECTIVE
01:44:55LOST AND DEFECTIVE
01:44:57LOST AND DEFECTIVE
01:44:59LOST AND DEFECTIVE
01:45:01LOST AND DEFECTIVE
01:45:03LOST AND DEFECTIVE
01:45:05LOST AND DEFECTIVE
01:45:07LOST AND DEFECTIVE
01:45:09LOST AND DEFECTIVE
01:45:11LOST AND DEFECTIVE
01:45:13LOST AND DEFECTIVE
01:45:15LOST AND DEFECTIVE
01:45:17LOST AND DEFECTIVE
01:45:19LOST AND DEFECTIVE
01:45:21LOST AND DEFECTIVE
01:45:23LOST AND DEFECTIVE
01:45:25LOST AND DEFECTIVE
01:45:27LOST AND DEFECTIVE
01:45:29LOST AND DEFECTIVE
01:45:31LOST AND DEFECTIVE
01:45:33LOST AND DEFECTIVE
01:45:35LOST AND DEFECTIVE
01:45:37LOST AND DEFECTIVE
01:45:39LOST AND DEFECTIVE
01:45:41LOST AND DEFECTIVE
01:45:43LOST AND DEFECTIVE
01:45:45LOST AND DEFECTIVE
01:45:47LOST AND DEFECTIVE
01:45:49LOST AND DEFECTIVE
01:45:51LOST AND DEFECTIVE
01:45:53LOST AND DEFECTIVE
01:45:55LOST AND DEFECTIVE
01:45:57LOST AND DEFECTIVE
01:45:59LOST AND DEFECTIVE
01:46:01LOST AND DEFECTIVE
01:46:03LOST AND DEFECTIVE
01:46:05LOST AND DEFECTIVE
01:46:35LOST AND DEFECTIVE
01:46:37LOST AND DEFECTIVE
01:46:39LOST AND DEFECTIVE
01:46:41LOST AND DEFECTIVE
01:46:43LOST AND DEFECTIVE
01:46:45LOST AND DEFECTIVE
01:46:47LOST AND DEFECTIVE
01:46:49LOST AND DEFECTIVE
01:46:51LOST AND DEFECTIVE
01:46:53LOST AND DEFECTIVE
01:46:55LOST AND DEFECTIVE
01:46:57LOST AND DEFECTIVE
01:46:59LOST AND DEFECTIVE
01:47:01LOST AND DEFECTIVE
01:47:03LOST AND DEFECTIVE
01:47:05LOST AND DEFECTIVE
01:47:07LOST AND DEFECTIVE
01:47:09LOST AND DEFECTIVE
01:47:11LOST AND DEFECTIVE
01:47:13LOST AND DEFECTIVE
01:47:15LOST AND DEFECTIVE
01:47:17LOST AND DEFECTIVE
01:47:19LOST AND DEFECTIVE
01:47:21LOST AND DEFECTIVE
01:47:23LOST AND DEFECTIVE
01:47:25LOST AND DEFECTIVE
01:47:27LOST AND DEFECTIVE
01:47:29LOST AND DEFECTIVE
01:47:31LOST AND DEFECTIVE
01:47:33LOST AND DEFECTIVE