klass 95 Capitulo 8 Completo en Español

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klass 95 Capitulo 8 Completo en Español
Transcript
00:00It's a magical moment.
00:02A sophisticated, a bit European, a bit New York.
00:06It took place in Bogotá.
00:08Beautiful women, bodies that danced like if they were a bear.
00:13Elegance, class, sophistication.
00:17It's a magical moment.
00:19It's a magical moment.
00:21It's a magical moment.
00:23It's a magical moment.
00:25It's a magical moment.
00:27Elegance, class, sophistication.
00:31Have a good day.
00:32A moment signed by Shayo, Laura and Moni Dominguez.
00:36Three women who came back to triumph.
00:39Yes, to illuminate with beauty.
00:42Hers.
00:43The most beautiful women in the world.
00:46And to warm up the cold nights in Bogotá.
00:50All the world.
00:51The beauty of what we did last night.
00:53I can't believe it.
00:54We just left the stadium.
00:56Let's go!
00:58As if it were Studio 54 in New York,
01:01all the guest personalities were able to dance at a party and not forget.
01:08Spectacular.
01:09I can't believe it.
01:10What happened with Kelly and Nadia de Holman?
01:14They couldn't sleep since they arrived in Bogotá.
01:16Especially Kelly.
01:18She was still thinking about the information that she had killed her husband.
01:23Kelly, aren't you afraid that they will look for her?
01:26That they will investigate what happened to him?
01:29No.
01:30Nobody saw me with him.
01:32I didn't leave a trace.
01:34In fact, the only one who could talk is him.
01:36And well, he's dead.
01:38Well, he's not going to look for what's his.
01:40You were his wife, Kelly.
01:42He put up with that pig for years.
01:44Something must have happened to him.
01:46The only thing I want is to go back to the life where I had to leave her.
01:49Holman wanted to fuck me, he wanted to impregnate me so that I couldn't be a model.
01:54And that's why you...
01:56I shot him because he kidnapped me.
01:58Because if I didn't want to be with him, he raped me.
02:01Do you understand me?
02:02Nobody is going to be able to fuck me or blame me for anything.
02:05Everything I did was to defend myself.
02:07Kelly, but you flew away.
02:09Who's going to believe you?
02:10Well, what are you saying?
02:12What's your fucking?
02:13Do you want to see me fucked or what?
02:16No, no, no, no, no.
02:18Calm down.
02:19I'm on your side.
02:20I want to see you well.
02:22I want us to be well.
02:24That you become a model.
02:27I get where to study.
02:29I swear I will never tell anyone what you did.
02:33Ready.
02:34I'm going to take a level, no.
02:36Dad.
02:38See you later.
02:39Hey.
02:42Excellent.
02:43So what?
02:44So, what's next? Patios or a crash tomorrow?
02:46I'd rather go to the patios,
02:47because with all that wheel sucking,
02:49I don't think I'll be able to get out tomorrow.
02:53I'll let you know later, kid.
02:54But have a drink, because I have to wait a long time.
02:57You're the upper train, and I'm the lower train.
03:00I like to ride bikes, and you like to suck on wheels.
03:04See you, kid.
03:05Take care, bro.
03:05Bye.
03:06See you.
03:14Good morning.
03:15Good morning.
03:16Did you get some rest?
03:17Yes.
03:18Good morning.
03:19Hi, Nayibe.
03:20Do you want breakfast? I brought hot bread,
03:22coffee, eggs, cheese.
03:25That's great, Angelito.
03:26You're so nice.
03:28Let me get ready and I'll be right there.
03:29Tell your sister to come.
03:31No, my sister doesn't like breakfast.
03:33What do you mean?
03:34She's so fat,
03:36so she's trying to lose weight, don't you think?
03:38Angelo, Angelo.
03:39Good morning.
03:40Hi.
03:41I heard you said breakfast.
03:42Yes.
03:43I love it.
03:44I'll get ready.
03:44There's room for everyone.
03:45Wait, wait, wait.
03:46Girls, I need to talk to all of you.
03:48Come with me.
03:51Before we go to breakfast or even go out,
03:55we have to come to an agreement.
03:58An agreement on what?
03:59On the version of our lives.
04:01What we're going to tell people.
04:03What happened to Kelly was serious.
04:06People can ask.
04:07Ask what?
04:09If people don't even know that Holman existed in Bogota,
04:13who cares?
04:14Anyway, four women coming alone to a different city,
04:17leaving everything behind as if nothing was normal.
04:20If we haven't left anything behind,
04:22it doesn't mean people will say we're fugitives.
04:25No, but people will ask a lot of questions.
04:30We have to come to an agreement, have a version.
04:33What are we going to say?
04:34The truth, honey.
04:35What truth?
04:36Of course.
04:37For you and Vanessa, it's very easy.
04:39But what about Kelly?
04:40If they ask if she's married or single,
04:42what will she say?
04:43That she's a widow.
04:44What?
04:45How can she do that?
04:46Is she stupid or what?
04:47No, ma'am.
04:48Saying she's a widow is like putting a gray cloud
04:50on your head.
04:52Besides, it's like ten years.
04:55And the other thing is that she opens the door to people
04:57so they ask her what her husband died of.
04:59What will she say?
05:00Tell me.
05:01What do you want me to say?
05:03Tell them you had a great love and that she's gone.
05:09And I did it like that, very confused, deep inside.
05:13And with that, people won't ask anymore.
05:15Believe me.
05:16Well, very well, Najeeb.
05:18Then we can go have breakfast.
05:19No, ma'am. This is not a fan.
05:21They can still ask us more uncomfortable questions.
05:23What do you mean, aunt? You're scaring me.
05:27We don't know that tomorrow they'll come
05:29and do an investigation about Holman.
05:32And we have to agree on what we're going to say.
05:34So let's say this.
05:36We came here
05:39to accompany Kelly to a casting.
05:41And when we were here, they called us and told us
05:44that her partner was kidnapped and killed.
05:48So the girl got depressed and fell asleep.
05:51And that's why we couldn't go to the funeral or anything.
05:54So we decided to stay here.
05:56Oh, Mom, I've already told you.
05:58I don't think anyone would come here.
06:00It doesn't matter, Mom.
06:02But anyway, four people with four different versions,
06:06that generates suspicions.
06:08And the other thing is that we have to behave decently.
06:12With decency.
06:14We don't have to walk around looking like crazy.
06:17We don't have to look happy.
06:19Don't go and say that we came here to celebrate.
06:25Because we're mourning, girl. We're mourning.
06:29Is that clear?
06:31And if someone asks an uncomfortable question,
06:34you look at me and I'll answer.
06:37Well, can we go have breakfast? I'm hungry.
06:40What I need is a radio.
06:42Last night was the agency's launch.
06:44I want to know what's next, what's going to happen.
06:46I'm going to go fix it.
06:50And if he finds her, what?
06:53Is he going to give her back to her dad the way he deserves?
06:57That girl did look at him.
06:59Was she going to let him vote for the cool guys to eat him?
07:03You need to be very cold-blooded.
07:05If I find her in your place, you'll pay for it.
07:08But you need to be cold-blooded.
07:13Don't worry.
07:14I have a welcome party ready for you.
07:18Now I just need a place to stay.
07:21Where my sister-in-law can stay for a few days.
07:25What are you going to do with the job?
07:27You don't have to come back.
07:29No, I do, but I had a few vacations there.
07:34I have three months.
07:36What if she calls you there?
07:38What if she finds out you're alive?
07:40She's not going to call.
07:42She doesn't know anyone there.
07:44She only knows you. That's why she called.
07:48You'd pay anything to see her face
07:50when she finds out you're alive and walking.
07:53That's going to be nice.
07:57Son of a bitch!
08:04The promised land is Teuta.
08:06Here are the women of the moment.
08:09The ones who lit up the sad night in Bogotá.
08:13But first, I'd like to remind you of an interview
08:17that I gave to Shadi Domínguez a few years ago.
08:21Engineer, let's remember it. Humiliate me, please.
08:25What's next?
08:26I'm going to set up an agency to bring Colombian beauty
08:29to the best airlines in the world.
08:33Excuse me.
08:39Cindy Crawford.
08:40Why not?
08:41Well, years later, with a title on top
08:45and all her promises fulfilled,
08:48we have the privilege of having Shayo Domínguez
08:51and her agency, Class 95, on the show again.
08:54Here I have you, Shayo, divine as always.
08:57And I also have here, more or less,
09:01Well, let's talk about that spectacular launch.
09:04It's great news for all the beautiful women
09:07in this country who want to be models, right, Shayo?
09:10It's a total success, Pedro.
09:12But I feel that beyond the celebration,
09:15the most important thing we achieved
09:17were all the doors that opened up to the agency.
09:20The contacts we made.
09:22I think it was a great success.
09:24I think it was a great success.
09:27The doors that opened up to the agency.
09:29The contacts we made.
09:31I understand that you've received
09:33quite an interesting offer.
09:35One of the many sounds to you,
09:38which is a campaign with a very important multinational.
09:42Can that be talked about or is that still a secret?
09:44It can be said.
09:45In fact, that is one of the reasons
09:47why we are here today.
09:49A close friend of the family invited us
09:51to participate in a very important campaign
09:54Believe me, the soap campaign is the most impressive
09:57that's been done in a long time.
09:59And I'm putting it on a silver platter.
10:01There you have a challenge for class 95.
10:03To show that they are the sensation of the moment.
10:05Let's see, what silver platter?
10:07With how demanding you are to choose the models?
10:11Rather, please tell me what you are looking for exactly.
10:14Easy. I want a symbol woman.
10:17One of those women that you can't get out of your head day and night.
10:20I want women to want to spread that soap all over their body.
10:23And we men don't want to eat it in front of them.
10:27To the soap, of course.
10:28Yes, of course.
10:29Hi, how are you?
10:31How are you?
10:32Fine, and you?
10:33Fine.
10:34Do you remember that I was going to introduce you
10:36to a model thinking about the campaign?
10:38Yes, yes, yes.
10:39Barbara.
10:40It's Barbara.
10:41It's called Barbara.
10:42But we didn't come to do casting, we came to celebrate.
10:45You two are the only ones I invited to the campaign.
10:47So you're going to compete.
10:49I'll see how you surprise me.
10:51Let's dance.
10:52Excuse me.
10:55Well, welcome to the competition.
10:58Competition is when two titans face each other.
11:02I don't see any other here.
11:05Oh, honey, this is pure formality.
11:09Each of us presents his or her thing,
11:12and then, you know, they're going to choose me.
11:15Experience.
11:17No, and modesty.
11:20I hate that word,
11:22which is the resource of the ugly and the mediocre.
11:27Experience does not improvise, you see?
11:31When there is no competition, it is not experience,
11:34but luck.
11:35And luck is not eternal.
11:39Enjoy the party and learn.
11:45One double whiskey.
11:48A whole fashion institution in Bogotá.
11:51A very, very hard bone to break, Chayo.
11:53Tell me, what is that strategy going to be to beat them?
11:57Well, don't waste time, Pedro.
12:00And with your help and our eye,
12:03we will find the new face of Class 95.
12:06What is that new face, Laura?
12:08She is a woman between 17 and 22 years old, more or less.
12:12An authentic, fresh, natural woman.
12:16Colombian, of course.
12:18If there is something that differentiates us from Gross Models, it is that.
12:21We do believe in Colombian beauty.
12:24I have the eye, I think I've already shown it,
12:27and I have it tuned to find that star for the next campaign.
12:31Because that's going to be, Pedro, a new star.
12:37Let's face it, I don't know, I'm a model of 90, 60, 90, 180.
12:40Chito!
12:41What do I have to do?
12:42Chito!
12:43You have an eye that is not an ear.
12:45You can have a book or any photographic record you have.
12:48Go through the offices of Class 95 and we'll do the casting.
12:52But see, the most important thing is to have good titles.
12:56That campaign is our princess.
13:00Oh no, but how are you going to tell me where Class 95 is?
13:03How am I going to get there?
13:05My daughter, calm down, don't worry.
13:07Angelo must know where that is.
13:09Angelo, you help the girl get there, right?
13:12Of course.
13:13How can you? What a shame with Angelo.
13:15He keeps very busy with his miscellany.
13:17I take her.
13:18I also know how to vote.
13:20And why don't you go and get some very nice fabrics?
13:23So that Kelly arrives at the casting as a top?
13:26Well, I have some fabrics there in the miscellany.
13:28They are not many, but I always try to have the latest in trends.
13:32Well, what you can see in the magazines.
13:34You must have very good taste.
13:37Well, yes, after breakfast we will see those fabrics.
13:41Well, and if you don't like any, we can go to the neighborhood,
13:44the alqueria, which is where all the suppliers are,
13:47to the mayor.
13:48There you can find anything.
13:50Better said, if you are not in the alqueria, it does not exist.
13:53And if you want, I can accompany you.
13:55Ah, no, I'm happy.
13:57Well, with a tourist guide like you,
14:00who knows the work of one.
14:03What a blessing.
14:05That's wonderful.
14:06I'm happy.
14:07So, I don't know, let's go to the alqueria.
14:09That.
14:10I'm not going to go to college.
14:11I'm going to find out about the insurance.
14:14Will you help me find out about the transport?
14:17Of course.
14:18I'm going to take a shower and see you in a while,
14:20there in the miscellany, and I'll tell you everything as it is.
14:22Well, then I ask for your permission.
14:24Angelo, wait.
14:25What happened?
14:27Oh, I wanted to thank you.
14:29And why?
14:30We are going through a very strong duel.
14:34And having the unconditional support of a person like you,
14:37well, it feels very good.
14:39Widowed?
14:40Najeeb, you?
14:42Oh, no, no, no, no, no, no, no, no, no.
14:44I'm free.
14:45Freer than ever.
14:48And is it very recent?
14:51Well, more or less.
14:52And the truth is, we try not to talk to her much about it
14:56because it's so recent.
14:57Of course, my mother.
14:58And we made the decision not to talk about it ever again.
15:01Well, with all due respect,
15:03here the important thing is that she recovers,
15:05that she feels good, right?
15:06Yes.
15:07I ask for your permission, Najeeb.
15:23I'm in the shit.
15:37Let's go.
15:43Sir, sir.
15:44Hey, sir.
15:45Sir, what is it?
15:47Boss, can you take me?
15:49Where are you going?
15:50To Bogota.
15:51Get in, but fast, fast, fast.
15:52Oh, thank you.
16:00Do it.
16:05Hello.
16:06Hello, can you hear me?
16:10Cindy, pick up the main one, I already found it.
16:13Hurry up, we can't fly.
16:21There is no doubt that tonight was a success for the Dominguezes.
16:24But for Edgar, it was great.
16:26That night he achieved what he had never achieved before.
16:28I already have everything ready.
16:30The visa, the papers, the appointment.
16:32All I want is a favor.
16:35Please, of course.
16:42No, no, you're not my friend.
16:44You're my brother.
16:54Are you sure?
16:56Of course.
17:04Never again.
17:07There was one more.
17:09The partner.
17:10The owner of the bar.
17:11El Cachas.
17:14His plan to enter the life of the Dominguezes and the agency
17:17was at a distance.
17:19One day later, at five in the morning,
17:22the agent lined up for a dream.
17:29You answer everything as I told you.
17:31That you don't know anyone, that you go on vacation,
17:33and that you don't plan to raise anything in this world
17:35because you really miss your mom.
17:37The gringos are idiots, don't forget that.
17:40It's impossible not to give you the visa
17:42if you are the best student in your school.
17:44Yes, Mom, but a bully.
17:46And please don't mention that you were expelled
17:48from the previous school for smoking that crap you smoke.
17:51It's going to start, Mom.
17:52But calm down, boss.
17:54Don't make that face.
17:55How are you not going to give you the visa
17:57with a stamp?
17:58In addition to these people who are going to think
18:00that we have not retired people underground.
18:03Don't say anything stupid, Silver.
18:05These guys have cameras everywhere.
18:14I'm going to have breakfast at the hotel next door.
18:16There are about three people missing.
18:20Send me a viper and I'll go.
18:22And from where?
18:23From my satellite phone?
18:25Don't be stupid.
18:27With the Chinese.
18:28You tell the kid to go to the cabin.
18:30Send me a viper and I'll go.
18:31Send me a viper and I'll go.
18:32This happens in India.
18:34You're always naked, aren't you?
18:36Bill Gates had never invented a communication system
18:39as effective as the Colombian Chinaman.
18:42Fast, economical, accurate.
18:44It was the true beginning of the Creole Internet.
18:48But not only in that embassy
18:49a dream was being made.
18:52In the offices of Class 95,
18:54dozens of women were waiting for that passport,
18:56the one of beauty, to change their lives.
19:02Let's see.
19:03If they ask you what your sizes are,
19:05what are you going to say?
19:0660, 90...
19:08No, say 90, 60, 90.
19:11It's true.
19:12The order of the invoices does not affect the product,
19:15but you guess.
19:17Look, who's the man you're talking about?
19:19We almost threw him hard.
19:20And how do you know he's a man?
19:22Let's see, he's always a man.
19:24Where there are good women, he's always a man.
19:27Wait, I'll look for him and I'll get him.
19:30As always, sex and lies.
19:40Oh, why is she?
19:41She's cheating.
19:53So what did my friend the consul say?
19:55Did he say hello to her?
19:57Or was he delighted that it's a shame he didn't show up?
20:00Is he still in Guayabada?
20:02The fight we had was tough.
20:05We fought like vikings.
20:08And the girls were crazy.
20:11Did the consul say hello to her?
20:13Perfect, my friend.
20:15He asked me to tell you this.
20:24Next.
20:30Good, Chino.
20:32Multiplay for five years.
20:34How did he see her?
20:36Now I'm going to get married and become a citizen.
20:40Of course.
20:42What's up, boss?
20:43So what?
20:44Did they give us the visa?
20:45We're going on vacation.
20:48No, they didn't give us the visa.
20:51That consul is a pig.
20:53You make him drunk and he does it to you.
20:57I don't know, brother.
20:58We'll see how he takes revenge.
21:00For now, let's shut up.
21:02The Domingues can't find out about this.
21:04Not yet, but how are you going to do it?
21:07If you don't have a visa, how are you going to sign the contract?
21:10I don't know.
21:13But in that agency is everything I need in Elver's life.
21:18I'm not going to be a partner for anything in the world.
21:21Sir.
21:23So where are we going?
21:24We're going to the agency.
21:25What are we going to do there?
21:27First, we stop at 812 to buy a few things.
21:30As you wish.
21:52Good morning.
22:23Good morning.
22:32Good morning.
22:34How are you?
22:36How are you?
22:38Laura.
22:40How are you?
22:43How are you?
22:45Partner.
22:47Edgar.
22:48How are you?
22:49Good.
22:51How are you?
22:53Good, thank you.
22:54How's everything?
22:55Good.
22:56I brought some things to celebrate.
22:57I imagine you're going to want to eat and drink something.
22:59I brought champagne.
23:01There's food for everyone.
23:05Euskita, please take this.
23:10What?
23:11You think I'm going to tell you
23:13that I spent so much time thinking of ideas
23:14for our agency?
23:17That's great.
23:18I love the innovative spirit.
23:21We're still looking at the paperwork.
23:24The paperwork is ready.
23:26I can bring them to you today.
23:27I'll give them to you so you can relax.
23:30Whatever you say.
23:31No, don't worry about it.
23:34Are you sure?
23:35Okay, perfect.
23:37I want to get to the bottom of this, Chayo.
23:39I want to know how we started this business.
23:44Of course.
23:47Um...
23:48Elena, I don't know about these pictures.
23:52Oh, okay.
23:54Of...
23:56Of this model.
23:59Yes.
24:04I'm hungry.
24:05Go get the coins so I can buy something to eat.
24:08What?
24:09Don't you see I have to catch the bus?
24:11Let's wait and see if they give us anything
24:13about what that man brought.
24:15Calm down, okay?
24:19We're never going to do that audition.
24:24You know what?
24:25Wait here. I'll go in and find out.
24:27I'll be right back.
24:33Height?
24:341.79.
24:35Excuse me, I have a question.
24:38Phone number?
24:38436-7520.
24:41Hello.
24:42Excuse me, I have a question.
24:43Does this computer work?
24:45Yes.
24:46I have a suggestion.
24:49Yes?
24:50I think you should make a form
24:53to give to the girls.
24:54At this rate, when you get to the end of the line,
24:57all the girls will be starving.
25:00Yes, we thought about it.
25:01We only have one or two sheets to print,
25:04but look at how many there are.
25:06That's the least we can do.
25:07We'll print the form and make a photocopy.
25:10May I help you?
25:11Yes.
25:13Just a second.
25:15I'll be right back.
25:17I'll be right back.
25:18Elenita, please.
25:19I think she's the one you just gave me.
25:21Alice, how are you?
25:23I'm so sorry.
25:25I came in here because I was helping her.
25:28Elenita.
25:29Yes, Elenita. Nice to meet you.
25:31Nayibe Sepulveda, model representative.
25:34How are you?
25:34I'm great. I'm Shia Dominguez.
25:36I know you're going to introduce yourself.
25:38You're famous.
25:38No, of course not.
25:40If I'm here with my daughter, it's because of you.
25:44Does it bother you if I help you get a little more agile
25:48so you can give up?
25:50No.
25:51I think we need to get the girls' information.
25:55With that, you can go there and meet them in person
25:59and do whatever you have to do.
26:01I think it's perfect.
26:02It's a shame, but we're very busy.
26:04We didn't know so many people were coming.
26:06It's not a shame, ma'am.
26:09Besides, if we end up working together,
26:14I think it's best if we get to know each other.
26:17How did you say your name?
26:19Nayibe.
26:20Nayibe.
26:20Welcome.
26:22I'll leave it to Elenita to help us out.
26:25Good day.
26:26With that initiative, I'll get hired.
26:28Go do what you have to do.
26:31Go do what you have to do.
26:32I'll stay here with Elenita.
26:39Elber, explain this to me.
26:41You bring flowers, champagne, you send them mariachis.
26:44I did the launch in Gatineau.
26:46I'm the agency's financial partner.
26:47I don't give a damn.
26:49Instead, a woman like this shows up
26:51and starts sending the operation in a two-by-three.
26:54And Chayo trusts her. What's that?
26:56What's that?
26:58Kelly!
27:00Kelly!
27:01Kelly, stop!
27:03What do you want?
27:05What's your problem?
27:06You didn't let me buy the bread.
27:08Now you're going to spend the bus money on photocopies.
27:10First of all, this woman is the one who's going to get us in trouble.
27:14If we want to get into this agency little by little,
27:18we have to sacrifice something.
27:19Her gut.
27:20And second, tell me how I'm going to tell her
27:24that I don't have money to buy photocopies.
27:27Do you think they hire such snobbish people here?
27:31Go get some Raclon photocopies.
27:33And don't worry.
27:34We'll figure out what to do to eat and go home.
27:37Go on. I'll take care of it.
27:43Ma'am.
27:45Wait.
27:46Can I have a minute, please?
27:48How are you? Nice to meet you.
27:50Edgar Trejos.
27:51I'm the agency's partner.
27:54I want to tell you that the girl who was with you
27:56is spectacular.
27:58Thank you very much.
27:59Yes. Nice to meet you.
28:01I'm Najive, Kelly's mother.
28:03I'm the agency's future top model.
28:05If you ever get organized,
28:08I've seen people you like,
28:11but you don't get it, do you?
28:13No, I get it.
28:14This is normal.
28:15It's just a little messy.
28:19But with a woman as beautiful as your daughter,
28:22you can do great things.
28:24I have a proposal for you.
28:25I don't know if you'll be interested.
28:27No, tell me.
28:28I'm at your service.
28:29I'm an open-minded woman.
28:31In fact, I'm a woman with a business mentality.
28:35How about you finish the casting
28:37and I'll meet you at my gallery?
28:39I have a model gallery nearby.
28:41Of course.
28:42Whatever you say.
28:43Okay.
28:44I'll see you in a bit.
28:45Yes, go ahead.
28:48Well, there's the phone number and the address.
28:53Since we just got here, it's a neighbor's phone number,
28:55but he's a good friend.
28:56So call us right away and he'll give us the reason.
28:59Okay.
29:00Well, it's very photogenic.
29:04I had already sent you the pictures a while ago.
29:07Yes, but that's in the past.
29:10Now the important thing is that we're ready to do the casting.
29:13So call us and tell us if you want to change your hair,
29:16if you want to dye it, whatever.
29:18We'll come here and do a very professional casting.
29:21Don't worry, I'll call you.
29:23You look great.
29:24Thank you very much.
29:25Mom, thank you very much.
29:27And for the empanadas.
29:28Excuse me, see you later.
29:33You look great.
29:34Very pretty.
29:35Yes, although I looked at you as if you were sad, you know?
29:40Look, Chayo.
29:41What is it?
29:42Are you really going to hire that woman
29:44who got like this like a dog around your house?
29:46Look, right now, anyone who helps me
29:47solve a problem, I'm going to hire them.
29:50Rather, you always guess everything.
29:52Why don't you tell me what we need?
29:53I was just picking up.
29:55Excuse me, a call.
29:56Thank you, Benicio.
29:59Hello.
30:00Good afternoon.
30:01I'm calling to find out if they're also casting men.
30:05Oh, Bernie, I'm not for jokes.
30:07I have like 50 women waiting outside.
30:10Hang up, because I'm calling to introduce you
30:13to a spectacular model.
30:15What do you mean? Are you dating a model?
30:17No, honey, I'm talking about business.
30:20What I understand is that your dad doesn't want us to get married,
30:23but he hasn't said anything about not doing business, has he?
30:26No, of course not.
30:28I'll see you tomorrow and I'll take you, okay?
30:31Well, yes, tomorrow is fine.
30:33All right.
30:34So let's go.
30:35Bye.
30:36Bye.
30:40Why didn't you let me tell you
30:41that I was the one who sent the pictures
30:43and the one who had been calling?
30:45Because they can ask questions and it's better if they don't.
30:48We're here, the casting is about to start.
30:51That's what matters.
30:53Hello, let's go get some coffee.
30:57Yes, let's go.
31:03He's making a lot of money.
31:17What are you doing?
31:23Follow him.
31:27FOLLOW HIM
31:37How did Holman end up at the agency
31:40where Kelly was doing the casting?
31:43Like everyone else, he knew Kelly's obsession
31:46with being a famous model, so he had to be there.
31:50He started listening to the radio and watching TV.
31:58Hello, neighbor.
32:00That's why we're calling on all the women
32:03who want to participate and feel and believe
32:05that they have the potential to be the new image
32:08of this campaign.
32:09We'll be doing the casting this Friday
32:12at the CLASP headquarters.
32:13All you need to bring is a photographic record
32:17and a very good attitude.
32:19Write it down in the address.
32:22I just found out that Edgar's truck had gone up.
32:26Painted and with his face.
32:28He imagined the worst.
32:30That his wife already had a rich boyfriend
32:32and that's why he shot her.
32:34And if he hadn't killed her, but out of jealousy.
32:37Shit, now I'm running out of battery.
32:42I had to get to Bogota
32:44and hide because if Kelly finds me, she'll kill me.
32:47Sorry.
32:51Okay.
33:21Bueno, pero muévalo, métale la pata, haga algo.
33:52Hey, hey, hey, where do you think you're going?
33:54After someone brings you and steals you?
33:56Who gave you permission to wear that suit?
33:58Oh, brother, what a shame.
33:59But no, I'm not a thief. Don't even think about it.
34:02Look, they're chasing me to screw me over.
34:04In fact, how much do I owe you and I'll pay you for this?
34:07Who's chasing you? Batman or the Wonder Woman?
34:09Don't mess with me.
34:10No, no, no, no, no, no, no, no.
34:12Where you recognize me, you screw me over.
34:14Believe me.
34:15Ready to record?
34:16Good thing you brought another clown.
34:18Oh, no, no, no.
34:19I didn't come for that.
34:20What are you talking about?
34:21In fact, I'm going to change.
34:22I'll give you back the things and I'm going to Bogota.
34:24No, no, no, no, no.
34:25What do you mean?
34:26Look, little brother, you've already entered expenses.
34:27You had to help.
34:28Have you heard that show, Yo Le Tapo el Hueco?
34:31Yo Le Tapo el Hueco?
34:32Isn't that the show that goes around the neighborhood
34:35celebrating the birthday of the characters of the city?
34:37The one of...
34:38El Hueco!
34:39Come on, my love, we brought you the sausage.
34:41Come on, get on, so we don't have to wait for you.
34:44No, no, no, no, no, no, no, no, no.
34:46Come on, get on, so you can help us measure El Hueco
34:49and celebrate another year of life, Cerroto.
34:53Oh, no, brother, that show is a ticket
34:55and when you complete it, everyone sees it.
34:57No, I can't go out there.
34:58How?
34:59Ah, no, well, the show has its own thing, so what?
35:02The community work they do is very nice,
35:04but I don't really like being a clown.
35:07The kids hate me, I'm in a hurry.
35:09Look, little brother, I'm going to make one thing clear.
35:11Either you help me or I'll call the police for robbing me.
35:14It's up to you.
35:15It's up to you.
35:18Help me.
35:19No.
35:26Come on, stop, stop, stop, leave me here.
35:29I'll be right back, okay?
35:30Okay.
35:31And we have a very special guest.
35:34What's your name?
35:35Jairo.
35:36That's it, Jairo!
35:38Welcome, Jairo!
35:40How long has this big hole been in this neighborhood?
35:44It's been a long time.
35:45It's been a long time.
35:58What's wrong with you?
36:14I don't want to learn this!
36:16I don't want to learn this!
36:18We're already colleagues, my dear, the Tapahuecos.
36:28Welcome here to Apollo 11 to cover a new hole,
36:33ladies and gentlemen.
36:35Thank you!
36:37How long has the hole been in?
36:39A long time, thank you.
36:41How many holes have you covered?
36:43A long time.
36:45Now we're all here to cover the hole.
36:48The hole!
36:50The hole!
36:53That's right, gentlemen!
37:01What happened?
37:02I walked.
37:03If he went to Bogota,
37:05he'll have to go get his things at home.
37:07Let's go!
37:13I told you I live here.
37:15Check the list of residents and you'll see me.
37:18Oscar Lordui.
37:19Where's Ramiro, the watchman I've worked for?
37:22Do you think I'm stupid?
37:23If you're not a clown, you're a drunk.
37:26What do you mean, a drunk?
37:28If you're not a drunk, then get out.
37:31Get out... what?
37:33Get out like a clown.
37:34Didn't you say you weren't a drunk?
37:36Let me in, please.
37:37I'll give you just one chance.
37:40If you make me laugh, I'll think you're a clown.
37:43If you don't, please give me permission
37:45and let me work.
37:46I'm paying my bills here.
37:48Come on, don't be like that.
37:50If you're a clown,
37:51that beetle that just got here is mine.
37:54And I'm asking you for permission.
37:55My driver brought it to me.
37:57Excuse me.
38:10Oscar!
38:11Oscar, it's me.
38:12It's me, Oscar.
38:13Stop, stop.
38:15Oscar, you almost scared me to death.
38:19What are you doing here?
38:20Weren't you in another country?
38:22I'll tell you later.
38:23Come on in.
38:25I almost forgot you were my neighbor.
38:27Where were you?
38:28Why do you smell so bad?
38:29I told you I'd tell you later.
38:31Where were you?
38:32Why do you smell so bad?
38:33I told you I'd tell you later.
38:47He had killed her, but out of jealousy.
38:50He followed her to Edgar's warehouse.
38:52Unlike what I would've done, he didn't go in to kill her.
38:55He didn't go in because he had shot her.
38:57He stayed outside.
38:58What a change.
38:59What do you mean he didn't want to go into the warehouse?
39:02That's not how it happened.
39:04Did you steal my suitcase?
39:05I just turned on the camera you told me to turn on.
39:08And I started seeing things.
39:09Don't be so gossipy.
39:10Show me.
39:11Why are you recording all this?
39:14I'm writing a book about what happened to the agency.
39:18I don't know if they're going to publish it.
39:21But if they don't,
39:22technology will allow me to upload all this information
39:24to the network.
39:25And if something happens to me,
39:27people will know everything that happened.
39:34Hey, cover yourself.
39:37Why? Who sees me?
39:40I do.
39:41You seeing me is the same as nothing.
39:45Come on.
39:46What?
39:47Come on.
39:48What?
39:49Do you still think I'm the same as everyone else?
39:52Juanita, Juanita, are you serious?
39:54Juanita!
39:56Hey, how can you leave me here in Boxer?
39:59Juanita, are you serious?
40:04I'm sorry, okay?
40:06All this is because of my anguish.
40:08But I promise you that when they publish the book,
40:10you will realize that I don't think like that of you.
40:12Open up.
40:15Juanita.
40:17That's not what it says here.
40:19And that's why your book is not going to be published.
40:21What do you know?
40:22I know a lot of things.
40:23And I never gave you my consent.
40:25I told you to put my name and my story in your book.
40:28And that's why I forbade you from publishing it.
40:30I forbade? You can't do that, you're not the owner.
40:32Yes, I can.
40:34Look, this book is not about you.
40:36It's about the Sundays, the agency, Edgar, Kelly,
40:40everything that really happened.
40:41It's about your version of what happened.
40:43Do you have another version? Didn't you see anything?
40:45I saw a lot of things.
40:46Really? What did you see?
40:49What?
40:51I had a very close relationship with Edgar's partner.
40:55With Elber.
40:56With Elber?
41:16But when?
41:17If we all knew that you were the sweet,
41:19silly girl in love with Nico.
41:21Come on, I'm sorry, I'm sorry.
41:24Did you really break Edgar's backguard?
41:26No, just a little bit.
41:28Look, don't talk to me like that.
41:30And don't talk like that about Elber,
41:32because he's much more than that.
41:36And if you want to know the whole story, then come in.
41:40Finally.
41:43But you're going to have to respect me.
41:45Because I'm not the same as before
41:47that everyone ignored, right?
41:49Is that clear to you?
41:54Look, get dressed.
41:56Yes, ma'am.
42:04Well, tell me what you know.
42:07Well, when Kelly and his mom entered the warehouse,
42:10they almost had to shut their mouths
42:12so that their saliva wouldn't drain.
42:14Yes, Holman got to the warehouse,
42:16but he didn't dare to enter.
42:18No, that's not how it happened.
42:22Well, we're here.
42:24Stop, stop, stop here, stop, stop, stop.
42:28Oh, thank you.
42:29Come on in, please.
42:32What a shame, thank you.
42:36Look, it's so beautiful, isn't it?
42:38Welcome, come on in.