1. This is based on real events.
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2. This is a work of fiction,
similarities are mere coincidence.
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3. 1936
MEXICO CITY
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4. But how long does a year last?
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5. Enough to help me be able
to take care of you three again.
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6. I don't understand.
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7. Look, once you finish second grade,
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8. you'll get back home to me
and your sisters.
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9. And what if I fail?
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10. No, you won't fail.
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11. And what if my aunt and uncle
don't like me?
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12. No.
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13. Of course they'll like you.
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14. Your aunt sent me a letter telling me
they're happy to have you.
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15. Bus to Durango, please board.
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16. Don't worry, Miss Bolaños.
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17. We'll take him to his destination.
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18. Thank you.
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19. You will take this hat with you?
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20. It's just that... I need it.
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21. It's okay, fine.
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22. I'll miss you.
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23. I'll miss you too, son.
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24. Here, please.
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25. We're ready!
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26. Bus heading to Guadalajara!
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27. NOT REALLY ON PURPOSE
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28. 1971
MEXICO CITY
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29. The thing is they've made me an offer
to make a show down there.
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30. Wow!
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31. I don't know what to say.
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32. They're offering good money.
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33. Much more than what I'm making now.
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34. And the stooges?
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35. And Lucas Tañeda?
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36. - Well, I know it may...
- They know you because of that!
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37. It's an amazing character!
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38. Will you give it up?
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39. But there I have the chance
to direct and to write.
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40. I know you don't like this,
but I've never lied to you.
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41. I think this is
a good opportunity for me.
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42. Okay.
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43. I think it's a foul play
by our competitors.
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44. And we'll definitely miss you.
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45. - But it's the best they can do.
- What?
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46. Stealing talented people.
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47. Look, I don't want to look ungrateful.
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48. Please, Rubén.
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49. I should be grateful to you.
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50. And we're not married!
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51. You have the right to build your career
the way you want.
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52. Thank you. Really.
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53. I think this is a chance for me to grow.
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54. No, please, stop growing.
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55. You're as much a genius as a midget.
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56. Not anyone would do what you do.
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57. Having common sense and empathy?
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58. If you'd like to come back,
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59. my doors will always be open for you.
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60. Thank you. Thank you.
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61. - You're welcome.
- You too.
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62. Am I interrupting something?
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63. - No, I already know the bad news.
- Peña!
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64. I suppose you already know.
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65. You didn't tell him about me?
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66. You too?
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67. I am leaving too, man.
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68. We're both leaving.
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69. I had nothing else to do here.
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70. And we're starting next month.
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71. Good luck.
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72. That's business, Roberto.
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73. Now we need your help to find
someone to replace Rubén.
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74. I don't understand what you're asking.
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75. It's not that hard, Roberto.
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76. The actor who plays
Lucas Tañeda is gone.
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77. We need another actor
to play that character.
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78. He is giving you the chance
to be a part of the casting process.
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79. Thanks, but no.
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80. - No one else can play that character.
- Why not?
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81. Because I wrote it for Rubén,
it belongs to him.
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82. No one else can play that character.
He can't have another face.
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83. You need to understand
that it's the character, not the actor.
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84. Then the character is over.
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85. But you need to fill that space.
Or not?
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86. The same mind that created Lucas Tañeda,
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87. and all the other characters,
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88. can create many more.
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89. You'll write something new?
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90. Yes, Sir.
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91. Do you like your room?
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92. There are plenty of kids around here.
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93. Do you want to go out to play?
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94. Go play with them.
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95. Give it to me!
Look, now the bear will talk.
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96. "Hello! How are you?"
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97. Yes!
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98. - He'll eat you!
- Who wants to go to the park?
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99. - Me!
- I'll go, too!
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100. And who'll look after Paulina?
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101. - I'll help you.
- Those who want to go, let's go!
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102. - Where will you play first?
- There.
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103. Roberto! Wait for me!
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104. Hey, Kiddo! Where's your brother?
I can't see him.
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105. Earthquake! Where's your brother?
I can't find him.
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106. I don't know. I think he was over there.
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107. - There?
- Let's go find him. Come on.
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108. - Roberto!
- Where is he?
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109. There he is! He's terrible at hiding!
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110. Champion!
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111. - You sneaked out on me!
- No, I was here.
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112. - Can you buy me a balloon?
- I want one too!
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113. - You want one too?
- Yes!
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114. Let's go buy some balloons! Come on!
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115. Follow me if you're good!
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116. - I want this one!
- No, this one!
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117. - Wait, wait!
- This one! I saw it first!
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118. - I'll give it to you, take it.
- Wait! No!
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119. Don't grab the balloons,
I'll give them to you!
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120. No, I want that one. That one.
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121. - I want that one.
- Wait, wait. I'll give it to you.
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122. - I saw it first! I want it!
- Listen, girl...
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123. - Here.
- I want that one!
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124. - Hold on, I'll give it to you!
- I want that one!
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125. Can you make a decision?
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126. - And what are you laughing at?
- I want that one!
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127. - I want that one!
- Wait, I'll give it to you!
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128. - No, that one!
- I'll give it to you!
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129. - Can you make up your mind?
- No.
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130. And what are you laughing at?
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131. I want that one! Can we have it?
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132. Don't touch the balloons.
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133. What are you laughing at?
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134. What's so funny?
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135. You want the red one? Good.
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136. Will you buy a balloon,
or are you just goofing around?
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137. I want that one!
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138. I won't hit you
because your dad's here.
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139. No, if you touch it... Here you are.
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140. No, I want that one! That one!
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141. Balloons, balloons! Get your balloons!
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142. No, just... Don't touch the balloons!
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143. Marce has a cold
and the fever won't go down.
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144. I brought you a sandwich.
Eat something, please.
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145. Thanks, Ñequita.
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146. Auntie,
when will I be able to see my mom?
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147. Why? Aren't you happy here?
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148. I'm scared.
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149. Of what?
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150. It's just that one day
my dad didn't come back.
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151. And he didn't come back the next days.
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152. I promise you'll see your mom again.
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153. But now you have to eat.
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154. - Are you hungry?
- Yes.
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155. I really, really, really hungry!
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156. - What do you want?
- A ham sandwich.
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157. Look, kid.
If you're not buying a balloon,
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158. go bother your grandma!
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159. - Like that?
- Exactly!
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160. Because you'll be dealing
with an annoying kid!
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161. And where will you find such a kid?
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162. Nowhere. I don't like children acting.
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163. You're right. Hiring kids
is always very difficult.
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164. And it's cruel!
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165. Child actors never grow up
to become normal people!
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166. - Hey, what's the matter?
- Just look at her.
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167. The thing is we're not hiring kids.
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168. And then?
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169. Set ready!
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170. Cameras are ready!
Everyone, get to your positions!
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171. Sound, please!
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172. Mister Gómez, here you are.
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173. Thank you.
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174. You're the oldest kid I've ever seen!
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175. No! Some children are older than me!
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176. - You're crazy, man. You're crazy.
- Let's see...
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177. You'll stand here with your whistle
and your balloons.
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178. And the kid comes walking alone,
with his ball.
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179. He puts it there, and...
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180. Jump! Jump! Jump!
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181. - I'm talking to you! Come here!
- No!
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182. I told you not to touch my stuff!
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183. - Go tell the lady...
- No!
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184. What are you looking at?
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185. Nothing. Why were you crying?
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186. Because my father scolded me.
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187. He hit me and pinched me.
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188. - Mister Gómez...
- I know, I understand.
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189. I don't mean to interrupt.
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190. But you already did.
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191. I just wanted to say
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192. that the balloon seller
and the other kids
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193. need a neighborhood.
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194. - What are you talking about?
- The kid character.
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195. With the balloon seller.
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196. The people loved that boy!
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197. And he needs to be in a neighborhood
with a little girl.
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198. Sir, you don't want to make
a TV show for children.
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199. - It's not for children.
- It's not?
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200. - Someone here doesn't understand me.
- Me.
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201. The situations we'll see there
aren't just for children.
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202. The balloon seller
isn't just a balloon seller.
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203. He's a jack of all trades.
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204. Lazy, unemployed, tricky...
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205. And what's the neighborhood for?
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206. Because the balloon seller
has a daughter.
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207. And she'll walk around
with the other kid.
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208. And the group around them can grow.
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209. "It can grow."
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210. - We don't have the budget, Roberto.
- Or to hire a little girl.
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211. We won't hire a little girl!
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212. - We can't build everything!
- Yes, we can!
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213. - Why are you so stubborn?
- Because I know what I'm doing!
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214. It's just that you have
no patience for me!
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215. I need you to trust me!
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216. Just because you say so?
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217. - Yes.
- Okay.
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218. I have a solution.
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219. It's a very good idea.
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220. - Thank you, Sir.
- Sir, we can't let him...
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221. It's going to eat you!
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222. Stop it, Daddy!
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223. Ladies and gentlemen!
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224. Ladies and gentlemen!
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225. Boys and girls!
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226. I think this is a good moment
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227. to ask Roberto to share
some magic words with us!
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228. - Right?
- I'm having breakfast!
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229. Not right now.
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230. Come on!
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231. Give us your blessing, man!
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232. Thank you.
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233. Maestro!
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234. We are speechless, Chespirito.
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235. Let's see...
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236. Here we go.
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237. The Second World War...
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238. Okay, okay, okay.
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239. The Second World War
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240. ended on August, the 14th, 1945.
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241. Just 35 days after that,
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242. on September 18th that same year,
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243. we met with Gavilondo, Nery,
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244. Oseguera, Mercado, Ruiz,
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245. my brother Horacio and me.
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246. On that day, we decided
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247. that our group would stop being a gang,
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248. in order to become a club.
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249. The "Aracuanes."
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250. A club invites people.
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251. A club brings people together.
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252. A club integrates people.
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253. Thirty three years later,
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254. today,
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255. all of you,
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256. and I mean all of you,
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257. have become my club.
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258. Daddy!
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259. - So beautiful!
- What a whiner!
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260. The whiner tried to run away yesterday.
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261. I heard he tried to escape.
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262. But Chespirito stopped him.
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263. You were going to leave us
just like that?
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264. He threw a tantrum, but his wife
brought him back to his senses.
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265. Some couples only seem to fight,
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266. just to enjoy that reconciliation.
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267. Waiter, can I have another
seashell with cream, please?
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268. A big one, please.
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269. Right away.
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270. One more? You've already had four.
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271. What's the problem with that?
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272. Edgar, sorry, I'm doing this for you.
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273. I just want you
to be okay during the shooting.
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274. We have to take care of ourselves.
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275. I know you don't like it,
but someone has to say it.
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276. All excesses are bad, Edgar.
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277. They can harm your body and your brain.
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278. Look at Ramón.
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279. Hey c'mon, hey c'mon...
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280. Not with me, Margarita.
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281. Congratulations, man.
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282. You won the lottery!
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283. I've already been there.
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284. I know people who have reached
their 90s like that.
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285. - Smoking?
- No.
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286. Staying out of other people's lives.
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287. 1971
MEXICO CITY
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288. Look, Julio.
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289. Everything you find on that warehouse,
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290. no matter how it looks,
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291. we will recycle it.
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292. And we'll use that
to give this place a soul.
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293. It will have a soul.
But not that much wood.
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294. What we need to have are the sinks.
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295. Those go here, at the center,
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296. where every neighborhood
loves to gossip.
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297. Some gas tanks,
just like in every neighborhood.
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298. Right by the stair,
with some flowerpots.
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299. A man and his daughter will live here.
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300. And here we'll have
the gossiping neighbor.
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301. And...
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302. A barrel.
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303. Build a little barrel here.
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304. - It's looking good.
- We're doing miracles with what we have.
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305. What do you think?
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306. The sinks will be on my back.
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307. - You're right.
- But we don't need them now.
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308. This house is important,
this is where the gossiping lady lives.
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309. Congratulations, Gómez.
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310. I see you got your scenario.
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311. And with the best scenographer around,
why wouldn't we make it?
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312. - Thank you.
- You're in great hands.
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313. - He didn't ask for your authorization.
- I hope those hands
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314. can help us beat our competitors.
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315. - So it will be.
- Otherwise, this kid and the rest
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316. will have to say goodbye
to Channel Eight.
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317. We'll do our best to make people
love this kid.
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318. "El Chavo del Ocho."
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319. That's it!
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320. That's it!
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321. What did you do at school, Roberto?
How was it?
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322. Mister Torres!
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323. What's the matter, uncle?
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324. That man is here to ask me
for some money I can't give him yet.
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325. Mister Torres, are you there?
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326. - Let's go this way. It's funnier.
- I'm here for your rent!
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327. We need more characters.
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328. - More characters?
- Yes.
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329. The rent collector, the gossiping lady
and more kids.
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330. I want a show with a good rhythm,
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331. fights and contrasts.
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332. A show where everyone
can identify himself.
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333. Not only with the situations,
but with the characters, too.
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334. Can I borrow it?
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335. Yes. Look, you drop it like this,
and then you do this.
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336. And we need great actors.
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337. Who do you have in mind?
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338. No one.
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339. Honey!
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340. Why are you playing with this rascal?
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341. Don't hang out with this lowlives!
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342. Yes, Mom.
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343. - Good morning, Sir.
- You're here, good.
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344. I need you to give this man an update.
Roberto, your new producer.
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345. Eduardo de la Torre. It's an honor.
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346. Glad to meet you.
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347. - Lalo.
- Sir?
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348. Make sure he doesn't do
anything stupid.
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349. He usually tries to get creative
in areas where he should not.
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350. - So we can't just hire anyone.
- I understand.
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351. - We need well-known people.
- Yes.
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352. Yes, Roberto heard that.
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353. We'll attack our competitors
on all flanks.
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354. We'll bring stars
now that we have a larger audience.
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355. But we don't need stars
or well-known people!
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356. Sorry, sorry.
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357. We need good actors.
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358. GOOD LUCK, RUBÉN AND SERGIO!
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359. - What did you just say?
- That you're ugly!
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360. Say sorry to our audience.
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361. No? Let's see your hand.
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362. To the suitcase you go!
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363. Let's go! Into the suitcase!
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364. - Bravo! Congratulations!
- Thank you.
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365. - Thank you.
- You're great, you're so funny.
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366. - Thank you.
- And I already miss you, man.
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367. I'll always be by your side, Roberto.
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368. I'll leave you alone, if you want.
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369. Just five minutes.
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370. He does a great
Jerry Lewis impersonation.
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371. And what about that thing
you do with your cheeks?
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372. - That's awesome.
- I did for the character of an old lady
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373. called "Queta Que."
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374. That's a good name.
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375. - Have you thought of becoming an actor?
- Actors don't think about it.
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376. You would be surprised.
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377. How would you like to work with me?
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378. Doing the old lady?
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379. Not exactly.
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380. How about playing a child?
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381. Marcos Barragán. "Virolo."
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382. "Virolo?"
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383. Nobody knows him,
he's not even an actor, Roberto.
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384. But he's very good!
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385. He's very talented!
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386. You're putting me in a difficult place.
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387. I have to give explanations,
don't forget it.
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388. Of course.
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389. Don't spend money you don't have!
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390. Don't listen to what they're saying!
Buy it!
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391. Stay away from sin and bankruptcy.
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392. Think of all the beers
you can put in here!
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393. Buy it!
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394. Save yourself! Don't buy it!
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395. This man is very funny.
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396. He's funny and a good actor.
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397. Buy it!
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398. Stop it! Stop it!
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399. What if I buy it in installments?
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400. Pay in installments at the Central Store
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401. and bring some peace
to your wallet and your mind!
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402. A movie buff, a great reader,
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403. a professional doctor,
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404. an actor, a singer...
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405. Anything else?
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406. I also make tamales on Sundays.
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407. I don't doubt it.
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408. By the way,
we don't use pork cracklings.
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409. Pork cracklings? What's that?
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410. You're hired!
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411. Wait, Roberto.
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412. Don't you want him to make an audition?
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413. And he's Edgar Vivar.
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414. He's not precisely a comedian.
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415. He's serious, yes.
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416. A serious actor.
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417. But comedians aren't necessarily
full time comedians.
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418. Roberto, we have a full unknown cast.
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419. I won't take that risk.
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420. I'm not taking this to Mister Vargas.
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421. Forget it.
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422. What was the name of that actress
on your set the other day?
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423. Which one?
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424. This is impossible.
I have to do the cleaning?
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425. No way!
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426. I only wash rags and underpants.
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427. When it comes to washing,
they can go...
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428. I'm sorry. I'm sorry.
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429. We're almost done. Then, we'll leave.
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430. - I said it!
- One more take, please.
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431. - Good.
- Slower. Okay. Yes.
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432. Margarita what?
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433. Ruiz. Margarita Ruiz.
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434. Let me tell you, Margarita Ruiz,
I'm impressed by what I saw.
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435. You're really good.
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436. Thank you.
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437. - Let me help you.
- Thank you.
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438. I noticed you've got everything I need.
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439. That either sounds too flattering
or too dangerous.
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440. I need a bossy old lady.
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441. - Thank you.
- With a terrible mood.
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442. - Thanks.
- Who thinks she's better than the rest.
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443. So many compliments, thank you.
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444. You're perfect!
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445. Imagine if I were not perfect.
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446. Would you like to work with me
on my show?
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447. On "Chespirito?"
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448. Really?
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449. Of course! I would love to!
It would be an honor, mister Bolaños.
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450. Gómez!
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451. Mister Gómez.
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452. But you can call me Roberto.
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453. Mister...
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454. Roberto.
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455. I'm sorry, I'm just too excited.
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456. I'm excited too, Miss Ruiz.
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457. Call me Margarita.
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458. Don't call me "Miss."
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459. Margarita.
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460. Well...
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461. This could be the beginning
of a long friendship.
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462. I'm sure it will be.
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463. Why didn't you say anything?
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464. When?
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465. At breakfast.
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466. When Margarita started talking
about the other actors.
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467. She went too far, don't you think?
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468. Four out of six horsemen
of the Apocalypse.
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469. You look handsome today, Dad,
did we tell you that?
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470. What do you want? What is it?
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471. We want to go see Manolo Muñoz tonight.
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472. - He's playing at the hotel bar!
- No.
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473. No, no.
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474. You're too young to go to a bar.
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475. - We won't let them drink.
- Sure, don't tell me.
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476. No.
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477. Not today, I don't feel like it.
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478. There's no one to join you.
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479. But we don't want someone
to come with us.
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480. What do you think?
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481. - Come on, Daddy!
- We'll behave, I promise!
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482. Your mom already said no.
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483. You can't be alone at the hotel bar.
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484. But it's Manolo Muñoz!
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485. - Yes!
- Manolo Muñoz, Mom!
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486. Please!
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487. Come on, please!
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488. Even you like Manolo Muñoz!
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489. - We could...
- Are you going to see Manolo Muñoz?
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490. No, they won't, because we have
no one to join them.
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491. But it is at the hotel bar!
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492. If you tell the manager
you're Chespirito's kids,
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493. there won't be any trouble.
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494. We haven't thought of that.
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495. I already said no.
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496. It's the safest place they can go to.
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497. They'll treat them like princesses.
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498. There won't be any problems.
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499. What do you say, Mom?
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500. Can we?
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501. - Please.
- Come on.
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502. Do what you want.
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503. Is that a yes?
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504. Let's go!
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505. Let's go!
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506. - May I go?
- Yes, we can go!
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507. I do know her, because she works
at the "Half an Orange" show.
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508. But she's a complete unknown.
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509. She's perfect for what we need.
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510. For what you need.
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511. And this one? Who is he?
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512. - Another kid.
- Stop it.
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513. How many times do I have to tell you
we don't make shows for children?
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514. Stop it!
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515. It's not a show for children!
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516. It's for everyone.
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517. For the entire family.
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518. Children might love it, yes.
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519. But especially, I have to love it.
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520. And I haven't been a child
for many years, now.
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521. We need a group that represents
the human condition.
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522. A small community
with all kinds of contrasts.
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523. That's where the comedy is.
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524. Mister Vargas, let me introduce you
to your star cast.
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525. Well...
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526. I don't think they're stars.
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527. Let me rephrase it.
Your future star cast.
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528. So far, it's just a very talented cast.
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529. Here comes a talented actress.
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530. Angelines Fernández
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531. Is there room for her
in your talented cast?
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532. Of course.
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533. She's a wonderful actress.
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534. - Welcome.
- Thank you.
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535. The older neighbor.
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536. Kind of bitter.
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537. And madly in love
with her neighbor, Ramón.
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538. Almost harassing him.
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539. And that's an adult topic.
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540. Good.
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541. Roberto,
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542. it's up to you, now.
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543. And to a bunch of unknown actors.
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544. We're going to tell the stories
of regular people.
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545. With their virtues and their flaws.
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546. With hopes and dreams.
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547. The life of imperfect adults
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548. with imperfect families.
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549. The annoying kid.
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550. The grumpy old man.
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551. The faithful friend.
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552. The gossiping lady.
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553. The single old lady.
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554. Regular, every day conflicts.
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555. Work.
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556. The rent.
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557. Friendship.
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558. Love.
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559. Laughter.
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560. Brotherhood.
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561. At the center of everything...
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562. At the heart of that neighborhood,
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563. with which everyone
can feel identified...
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564. We're shooting in five minutes!
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565. Ready?
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566. Are the actors ready?
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567. Yes, Sir, they're ready.
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568. the most powerful weapon:
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569. The tenderness of an orphan child.
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570. And that
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571. can move a grownup to tears.
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572. - Move to your right.
- Yes, Sir.
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573. Camera three, we're starting with you.
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574. Videotape rolling!
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575. Is sound rolling?
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576. Rolling.
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577. Cameras ready?
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578. Yes. Just one last thing...
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579. Remember that this is a comedy
about contrasts.
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580. - With your heart...
- Roberto, we need to start.
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581. On your marks.
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582. Everybody, to your positions!
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583. - Ready and on your marks, please!
- Ready!
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584. Set! Cameras ready!
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585. Camera two, come back a little.
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586. Sound is recording.
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587. Silence on the set.
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588. On your count, floor.
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589. "The Neighborhood", scene one, take one.
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590. In five,
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591. four,
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592. three,
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593. two!
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594. Hey, Chilindrina! Get over there
and pass me the ball.
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595. Yes, yes! Right now!
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596. - I will kill you, Quico!
- Chavo!
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597. No, Chavo!
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598. This is the last week I'm leaving
without the rent, Don Ramón.
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599. It was a mistake!
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600. It had to be the Chavo!
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601. - Give me that!
- It had to...
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602. What's going on?
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603. He tried to hit me with the broom!
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604. Wait, lady, I can explain!
It was Chavo's broom!
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605. Let me explain!
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606. Let's go, honey.
Don't hang out with this lowlives!
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607. Lowlife, lowlife!
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608. It had to be Chavo!
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