Chespirito: Not Really on Purpose (2025) s01e04 Episode Script

1
NARRATOR: Based on real events
from the autobiography
of Roberto Gómez Bolaños.
Some characters
and events are fictional.
-(CARS HONKING)
-(BELL TOLLING)
NARRATOR: 1936, Mexico City.
But how long is a year?
(TENDER MUSIC PLAYING) ♪
Well, enough for me
to be able to take care
of all three of you again.
I don't understand.
Listen. When you finish
studying your second grade,
you're gonna return home
with me and with your brothers.
-What if I fail, Mom?
-No, no. You're not gonna fail.
And what happens if my aunt
and uncle don't love me?
No. Of course,
they're gonna love you.
In her letter,
your aunt tells me
that they're happy
to welcome you.
(INDISTINCT CHATTER)
(ELSA BOLAÑOS CHUCKLES)
BUS STATION ANNOUNCER: Bus bound
for Durango, please board!
Do not worry, Mrs. Bolaños.
We will get him
to his destination.
BUS DRIVER: Thank you.
ANNOUNCER: Bus bound
for Veracruz!
Are you gonna
take that with you?
It's just that I need it, Mom.
Okay, that's fine.
I'm really gonna miss you.
So will I, sweetheart.
(SIGHS)
ELSA: We'll be together again
very soon.
BUS DRIVER: Right here, please.
Everyone ready?
ANNOUNCER: Bus leaving
with destination Guadalajara!
(ENGINE RUMBLING)
(SIGHS)
(THEME MUSIC PLAYING) ♪
NARRATOR: Chespirito:
Not Really On Purpose.
(MUSIC CONCLUDES) ♪
(UPBEAT MUSIC PLAYING) ♪
NARRATOR: 1971, Mexico City.
The point
is that they offered me
the option to do a show there.
(GROANS, CHUCKLES)
Hook to the liver.
I don't know
what to tell you, brother.
Well,
they're offering me so much.
Much more than I'm making now.
And The Chifladitos?
And Lucas Tañeda?
Well I know it may seem--
ROBERTO GÓMEZ BOLAÑOS: That's
what you're actually known for!
-He's an amazing character!
-(BIRDS CHIRPING)
And you're gonna abandon him?
It's that they offered me
the opportunity to direct
and to write as well.
Listen, I know
this looks bad to you,
but I've always told you
the truth, right?
I think this is a shot
-that'll be great for me.
-(LIGHTER CLICKING)
(EXHALES)
All right, then.
I think that it's a dirty move
on the part of the competition.
And I know I'm definitely
gonna miss you a lot, man.
(CHUCKLES SOFTLY)
But it's the best move
on their part.
RUBÉN AGUIRRE: Best move?
Stealing all the people
with talent. (CHUCKLES)
(CHUCKLES)
(INHALES)
Listen, I don't wanna
come across as ungrateful
No, on the contrary, Rubén.
I'm the one
who's extremely grateful to you.
And it's not like we're married.
You have the right
to build your career,
doing whatever's best
for you, man.
Thank you so much. I mean that.
I think this is an opportunity
that'll make me grow.
-No! Please don't grow anymore!
-(RUBÉN LAUGHING)
(CHUCKLES)
And just as much
as you are short,
you are very brave.
Not just anyone is able
to do what you do.
Having common sense
and empathy?
If you wanna come back
just know you'll always
have an open door with me.
Thanks, man. It means a lot.
It's not my pleasure though.
BOTH: It's my pain in the ass.
(BOTH LAUGH)
SERGIO PEÑA: Am I interrupting?
-No.
-RUBÉN: Peña!
I'm totally done listening
to bad news for the day.
I'm guessing you already heard.
You didn't tell him about me?
You too, asshole?
(SIGHS)
SERGIO: I'll be
leaving too, brother.
We're both leaving.
I just really need
to find my footing.
Besides,
we're gonna start next month.
(JOLLY MUSIC PLAYING) ♪
Good luck, guys.
(MUSIC CONCLUDES) ♪
VARGAS JOAQUIN: Roberto,
that's the way this business is.
Now, we need your help
to think about who'll be able
to replace Rubén.
I'm not sure I understand
what you're asking me.
I mean, it's not that hard,
is it, Roberto?
The actor
who played the character
of Lucas Tañeda has left.
We need another actor
to play the same character.
The boss
is giving you the chance
-to help pick that actor.
-(SIGHS)
-Oh, thank you!
-GILBERTO TREVIÑO: Hmm.
-(VARGAS GROANING)
-But no. No one else can play
-that character.
-Oh, is that so?
Because I wrote that character
for Rubén, thinking about Rubén.
-It's Rubén's.
-(CLEARS THROAT)
ROBERTO: No one else
can play that character.
-You can’t ask me to do that.
-(TREVIÑO GRUNTING)
VARGAS: Look, Roberto,
what you have to understand
is that what's in continuity
is the character, not the actor.
Well, the character's done then.
And who takes his place?
'Cause you gotta fill that time
somehow, right, sir?
From the same mind
that created Lucas Tañeda
and every other one
of my characters
countless more
are yet to be born.
Are you gonna write
something new?
Absolutely.
(TENDER MUSIC PLAYING) ♪
NARRATOR: (READING PROMPT)
(BELL RINGING)
(INDISTINCT CHATTER)
Do you like your bedroom?
(INDISTINCT CHATTER, LAUGHTER
OUTSIDE)
(DOOR CLOSING)
(CHUCKLES) There's many children
living around here.
Do you wanna go and play?
(TENDER MUSIC CONTINUES) ♪
(CHILDREN LAUGHING,
CHEERING)
Go, play with them, sweetheart.
(CHUCKLES)
(DOG BARKING)
(EMILIA BOLAÑOS CHUCKLES)
(KIDS CHEERING)
(WIND HOWLING)
(MUSIC CONCLUDES) ♪
(GULPS)
(EXHALES SHARPLY)
-(ZANY MUSIC PLAYING ON TV) ♪
-GRACIELA, DAUGHTER:
Give it to me! Look,
this is how the bear talks,
"Hello, how are you?"
Yeah! (CHUCKLES)
It's gonna eat you.
-ROBERTO: Who wants to come
to the park with me?
-Me.
-Me!
-TERE: I'm gonna go too!
GRACIELA FERNÁNDEZ: I'll stay
and take care of Paulina.
-I'll help you.
-Those that are coming,
let's go, and those that
are staying, stay here.
(BRIGHT MUSIC PLAYING) ♪
Which one
are you gonna get on first?
-TERE: That one.
-(KIDS CHEERING, CHATTERING)
(INDISTINCT CHATTER)
(MUSIC SWELLS) ♪
YOUNG CECILIA:
Roberto, wait for me!
-Let's play over here.
-(INDISTINCT CHATTER)
(MUSIC CONCLUDES) ♪
ROBERTO: Sweetheart,
where did your brother go?
I don't see him anywhere.
(SUSPENSEFUL MUSIC PLAYING) ♪
ROBERTO: Hey, Earthquake?
Where is your brother?
I can't find him anywhere.
I think he was somewhere
over there.
-All right, let's go find him.
-Could he be over there?
Come on, guys.
-Where is he?
-YOUNG MARCELA: He's over there.
(MUSIC CONCLUDES) ♪
(SIGHS) Champion!
You got away from me!
No, I was here all along!
-(LAUGHS)
-Will you buy me a balloon?
I want one too.
-You wanna go get a balloon?
-Yeah.
Let's go buy balloons then.
Let's go!
Follow me if you’re good!
(KIDS CHUCKLING, PANTING)
(SOFT DRAMATIC MUSIC
PLAYING) ♪
-TERE: I want this one.
-CECILIA: I want this one.
BALLOON SELLER: All right,
all right. Hold on, hey.
-Wait a second, wait a second!
-(OVERLAPPING CHATTER)
Please,
please don't grab the balloons,
-I'll hand them to you guys!
-No, no--
-CECILIA: I want that one.
-TERE: This one right here.
-ROBERTO JR.: But I want--
-BALLOON SELLER: Wait a second,
I'll give it to you.
(OVERLAPPING CHATTER)
(MUSIC SWELLS) ♪
BALLOON SELLER:
I'll give them to you!
Are you gonna decide? This one?
-What's so funny, huh?
-(OVERLAPPING CHATTER)
Hey, hey, hey, wait a sec!
I'll give it to you.
-I'll give it to you.
-ROBERTO JR.: Please.
(OVERLAPPING CHATTER)
BALLOON SELLER:
I'll give it to you.
Are you gonna decide? No?
And what do you find
so funny, gentleman?
-(DAUGHTERS CHUCKLING)
-ROBERTO JR: But I asked nicely.
-I did! I did!
-YOUNG CECILIA: Come on.
RAMÓN: (AS BALLOON SELLER)
Without touching the balloons.
What are you laughing at, buddy?
What are you laughing at?
Which one do you want?
The red one? This one?
This one? All right.
No, no, no, no, no.
Are you gonna decide
to buy a balloon?
Or you're gonna horse around?
Huh?
I'm not gonna slap you
just 'cause your dad's there,
okay?
(OVERLAPPING CHATTER CONTINUES)
BALLOON SELLER: No, I told you
not to touch the balloons!
(OVERLAPPING CHATTER)
BALLOON SELLER: Here you go!
All right. Like I said,
please don't touch it,
or I won't sell it.
Balloons, balloons!
Get your balloons!
-CECILIA: Yay, thank you!
-ROBERTO JR.: Please--
BALLOON SELLER: Hey!
No, no, no, no.
What are you doing?
-Don't touch the balloons,
I said!
-(TYPEWRITER CLACKING)
BALLOON SELLER:
Oh, come on! Please!
(OVERLAPPING CHATTER CONTINUES)
(MUSIC CONCLUDES) ♪
(KNOCKING ON DOOR)
(DOOR OPENING)
Marce caught a bug
and her fever won't go down.
I brought you a sandwich.
Eat something, please.
Thank you, sweetheart.
(DOOR CLOSING)
(TENDER MUSIC PLAYING) ♪
Auntie, when will I be able
to see my mommy?
Why? Are you not happy here?
I'm just scared.
Of what?
'Cause one day,
my dad didn't come back.
And then the other days neither.
Honey, I promise
that you're gonna see
your mommy again.
But right now you need to eat.
(CHUCKLES) Are you hungry?
Yes. Very, very, very,
very, very, very, very hungry.
-What would you like?
-I'd like a ham sandwich!
(MUSIC FADES) ♪
(INTRIGUING MUSIC PLAYING) ♪
-(TYPEWRITER DINGS)
-(SIGHS)
(TYPEWRITER CLACKING)
(TYPEWRITER DINGS)
-(STUDIO BELL RINGING)
-(IMITATING BALLOON SELLER)
Listen, kiddo,
if you're not gonna
buy a balloon,
you can go bother your grandma!
Something like that?
-Exactly!
-(CHUCKLES)
Because you're gonna be dealing
with a really annoying child.
Oh, come on, but where will you
get the kid from?
From nowhere. I don't like
to use child actors.
Well, good choice,
'cause hiring children
is always very,
and I mean very complicated,
they're always so--
-And it's also really cruel.
-RAMÓN VALDÉS: Mm-hmm.
Child actors never grow up
to be normal people.
You know that?
Hey, man?
What’s wrong with you?
-Exhibit A. (CHUCKLES)
-(CHUCKLES)
-Mm-hmm.
-And the point here
is that we're not gonna hire
any children.
Okay, so what then?
FLOOR MANAGER:
Let's get rolling.
Cameras ready!
Everyone in their positions,
please!
Let's check the sound,
please.
-TECHNICIAN:
Mr. Gómez, take this.
-ROBERTO: Thanks, man.
-RAMÓN: Thank you.
-Thank you, man.
-Thanks.
-FLOOR MANAGER: Sound rolling!
(EXHALES)
(BOTH CHUCKLE)
You're the oldest kid
I've ever seen in my life.
(IN KID'S VOICE) No! No!
There are children
much older than me!
-(CHUCKLES)
-(LAUGHS)
You're outta your mind,
-completely outta your mind.
-(IN NORMAL VOICE) All right.
You're gonna be standing here
with your whistle,
-and your balloons.
-(BLOWS WHISTLE)
And here comes the boy
walking alone with his ball,
and he places it, and
(TENDER MUSIC PLAYING) ♪
(INDISTINCT CHATTER)
Jump, jump, jump rope!
KID'S FATHER: Hey! You, girl!
Hey! I'm talking to you!
-Come here!
-(CRYING) No! No!
I told you
not to mess with my stuff!
You're gonna go to the lady
and you're gonna tell her
-(CRYING) No! No!
-(GRUNTS)
(SNIFFLES)
What are you looking at?
Nothing. Why were you crying?
Because my dad scolded me.
He hit me, and he pinched me.
(SNIFFLES, CRIES)
(FAINT KNOCKING)
-(REPEATED KNOCKING)
(MUSIC CONCLUDES) ♪
-Mr. Gómez, no. Allow me
-TREVIÑO: I know,
-I understand, but--
-ROBERTO: Sorry,
I don't mean to interrupt.
Well, that's just what you did.
-I just wanna tell you guys
-(CLEARS THROAT)
that the balloon man
and all the other children
are gonna need a neighborhood.
(SIGHS)
What are you talking about?
About the character of the boy
with the balloon man.
Chavito was very well received
and he needs to be with a girl
in a neighborhood.
Sir, you don’t want to make
a program for children!
But it isn't a program
for children
It's not?
There's evidently someone here
-who doesn't understand me.
-Me? (CHUCKLES)
ROBERTO: The situations
we're gonna see
in the neighborhood
aren't just for children.
The balloon man
isn't just a balloon man,
he's the typical "odd job guy."
Unemployed, lazy, and stubborn.
And what's the neighborhood for?
Because the balloon man
has a daughter
who's gonna be hanging out
with the other kid.
And the group around him
can always expand.
It can expand? (SCOFFS)
No, Roberto, we don't have
the budget for a neighborhood.
Or to hire a little girl either.
I'm not saying we have to hire
a little girl!
VARGAS: We can't just build
everything you want.
-But, yes, you can!
-Why are you so darn stubborn?
ROBERTO: Because I know
what I'm doing!
It’s just
you have no patience for me.
I need you guys
to just trust me.
Just because you say so?
-ROBERTO: Yes.
-TREVIÑO: Of course.
I thought of the solution.
It's a really good idea.
-Thank you, sir.
-TREVIÑO: Wait-- What-- Sir?
Look, we can't allow
this to happen
(UPLIFTING MUSIC PLAYING) ♪
NARRATOR: (READING PROMPT)
GRACIELA, DAUGHTER: (CHUCKLES)
It's gonna eat you.
-(GROANS)
-(DAUGHTERS LAUGHING)
MARCELA: Daddy, stop!
What are you doing, stop!
(DAUGHTERS CHUCKLING)
-MARCELA: Please stop!
-Oh, look at this.
HORACIO GÓMEZ:
Gentlemen, ladies!
-(IMITATES GLASS CLINKING)
-(CROWD CHUCKLING)
-Gentlemen, ladies, boys, girls.
-(OVERLAPPING CHATTER)
I think that right now
is a good time
to take advantage
and have Roberto here
give us some words of magic,
huh, am I right?
(CROWD CHEERING, APPLAUDING)
-(OVERLAPPING CHATTER)
-ROBERTO: No, not right now.
-Chespirito.
-Yes!
Mm-hmm. Ah!
HORACIO: Come on, man.
Give us some special words,
my brother, huh?
CECILIA: Daddy.
Uh
(SOFT TROPICAL MUSIC PLAYING
OVER SPEAKER) ♪
All right.
(CROWD EXCLAIMING, CHEERING)
RAMÓN: Nice troll.
You left us speechless,
my Chespirito.
(CROWD LAUGHING)
(SIGHS) Let's see
Here I go
After World War II
-(CROWD LAUGHING)
-it (CHUCKLES)
No, wait a sec, wait.
(CLEARS THROAT) All right.
After World War II
finally came to an end
on August 14, 1945
(TENDER MUSIC PLAYING) ♪
And only one month
and four days later,
on September 8th
of the same year,
we all came together
Gabilondo, Nery, Oseguera,
Mercado, Ruíz,
my brother Horacio, and me.
-(SIGHS)
-(SIGHS)
And on that day
we all decided
that our group would forever
stop being a gang
and we began calling ourselves
a club.
The Aracuanes.
Because a club invites,
a club unites.
A club integrates.
Thirty-three years later,
meaning today
all of you
that are present
you're my club.
-Aw.
-Aw, Dad.
-RAMÓN: Wow. So beautiful.
-(CROWD CHEERS)
-A tear jerker! Tear jerker!
-MARCOS: Tear jerker?
And what about you,
trying to escape last night?
I already heard that he made
a poor attempt at a withdrawal.
RAMÓN: No, no, no,
but Chespirito stopped him
in time.
But how? Were you gonna leave
-the production just like that?
-No.
MARCOS BARRAGÁN:
He threw a tantrum,
but his wife
put him in his place, as usual.
-(LAUGHING)
-(SIGHS)
MARCOS: There must be couples
who fight just for that reason
to later enjoy
the reconciliation.
(LAUGHING)
-Young man!
-WAITER: Yes, sir?
Can I order another shell
with cream, please?
I mean the big one.
WAITER: I'll bring it out
right now.
Another one? You've had four!
Do you have a problem with that?
MARGARITA RUIZ:
Edgar, forgive me,
I mean it for your own good.
I just wanna avoid any problems
during the shooting.
We have to take care
of ourselves.
Even if you don't like it, guys,
someone has to be honest here.
All excesses are bad, Edgar.
And they can damage
the body and the brain.
-Look at Ramón.
-(LAUGHS)
RAMÓN: Hey, what's the deal,
huh? What's the deal?
Don't mess with this stud,
all right? Please, Margarita.
(CHUCKLES)
-(MARCOS LAUGHING)
-RAMÓN: Excuse me.
MARCOS: Oh, man,
congratulations, bro.
You sure hit the lottery, huh?
I've been there already.
GRACIELA: Well,
I actually know people
who've made it to 90
living like this.
-Smoking?
-No.
Without meddling
in other people's lives.
(CHOKES, COUGHS)
(CLEARS THROAT)
(SOFT MUSIC PLAYING) ♪
NARRATOR: 1971, Mexico City.
Anything you find
in the warehouse
no matter how broken
or beaten down it is,
we're gonna recycle it,
and we have to use that stuff
to make sure this place
has a little soul.
(SCOFFS)
It'll have a soul.
Wood, not so much though.
(BOTH CHUCKLE)
And what is indispensable
are the washing bins,
those right here
in the center of everything,
where the gossip of the entire
neighborhood happens.
The gas tanks,
they're in every single
neighborhood,
so we can't do without those.
And here next to the stairs,
we need little flower pots.
Here, a man and his daughter
live in this apartment,
and over here,
we'll have the gossipy neighbor.
And, um
a small, little barrel.
Build us a small,
little barrel right there.
(INSPIRATIONAL MUSIC
PLAYING) ♪
JULIO LAFÁN: What do you think?
What do you think?
What do we think?
What do you think?
(WHISPERS) What do you think?
It's turning out great.
Yeah, we're making miracles
with what we've got!
-(CHUCKLES)
-(CHUCKLES) I love it.
JULIO: (WHISPERS)
What do you think?
(THUDDING)
The washing bins
will be facing backwards there.
Yeah. You're right.
But we're not gonna use them
now.
The important thing
is this apartment,
where the gossipy lady
is gonna come out.
TREVIÑO: Congratulations, Gómez.
I see your little scenery whim
has been fulfilled, huh?
And with the best set designer
in the company,
-how would we not achieve it?
-Ah, thank you so much!
VARGAS:
You're in very good hands.
Yes, sir, but he didn't ask
for permission--
I hope those good hands of yours
help us make noise
for the competition.
-I guarantee it.
-VARGAS: Because if not
El Chavo and all his buddies
will have to say goodbye
to Channel 8.
We're gonna give it everything
that we've got
to make people fall in love
with El Chavo.
(SAW BUZZING IN DISTANCE)
ROBERTO: "El Chavo, Del Ocho."
-VARGAS: Hmm!
-(GASPS)
(WHIMSICAL MUSIC PLAYING) ♪
That's good. That's good.
ÓSCAR TORRES: What'd you do
at school, Roberto?
-Did you do well?
-YOUNG ROBERTO: Hmm!
LANDLORD: Mr. Torres!
YOUNG ROBERTO:
What is it, Uncle?
That-- that gentleman is here
to ask for money
that we can't give him
at the moment.
LANDLORD: Mr. Torres,
are you around?
ÓSCAR: Why don't you
come this way?
It's more fun.
LANDLORD: I'm here for the rent.
ROBERTO:
We need some more characters.
-VARGAS: Even more characters?
-Yeah.
We need a landlord,
the gossipers,
and some more children.
I want it to be a show
with a lot of rhythm,
disputes, and contrasts.
A show that we can
all identify with.
Not just with what happens,
but also with the characters.
YOUNG ROBERTO: Can I borrow it?
Yeah, look, this has to go
like this,
and then it falls,
just like this.
ROBERTO: And we're gonna need
some really great actors.
-Who have you thought of?
-Nobody.
Sweetheart! What are you doing
playing with this filthy boy?
Don't hang out
with such low-lives!
RICH KID: Yes, Mommy.
RICH MOTHER: Understand,
I'm doing this
for your own good.
I don't want anyone to hurt you.
Where did you sit?
(TENDER MUSIC OVERLAPPING) ♪
(KNOCKING ON DOOR)
-(DOOR OPENING)
-EDUARDO DE LA TORRE:
Good morning, sir.
VARGAS: I'm glad you're here.
I need you to put this man here
in order.
Roberto, your new producer.
Eduardo de la Torre.
It's an honor.
(CHUCKLES)
Likewise, it's a pleasure.
-VARGAS: Lalo.
-Yes, sir?
Make sure he doesn't
do anything stupid.
Our friend here
extends his creativity
to areas that don't concern him.
We can't just hire anybody
off the street.
I understand.
We need some
well-known stars, yes.
VARGAS: Yes,
Roberto already heard.
We're gonna hit the competition
from all angles,
we're gonna put stars in here,
now that
we're gaining audiences.
But we're not gonna need
famous people or stars for that.
(GROANS) I'm sorry. Sorry!
All we need
are very good actors.
(SOFT MUSIC PLAYING) ♪
NARRATOR: "Much success,
Rubén and Sergio!"
-(LAUGHTER)
-RUBÉN: What did you say,
Virolo?
That you look very ugly.
Now, I ask you to apologize
to our audience.
-Ah? No? Let me see your hand.
-(CROWD LAUGHING)
-(BOTH CHUCKLE)
-(LAUGHTER)
-Well, into the suitcase, then.
-MARCOS: No! (GROWLS)
Yes! Let's go. To the suitcase!
(GRUNTS)
-(LAUGHTER, APPLAUSE)
-(BOTH CHUCKLE)
-Bravo.
-Thank you so much.
Congratulations to you guys.
You did that really well,
you guys are very funny.
And you? You haven't left me
and I already miss you, bro.
Roberto, you know I'm always
with you. (CHUCKLES)
Wow, if you want,
I'll leave you guys alone, yeah?
Maybe five minutes?
(BOTH LAUGH)
Hey, and he does a really good
imitation of-- of Jerry Lewis.
Oh, and that too.
What you do with your cheeks
and your eyes,
-it's just-- it's just amazing.
-(CHUCKLES)
I did that for this character
of an old lady
-called "Queta Que." (CHUCKLES)
-(CHUCKLES)
That's a really good name.
Ever thought about
being an actor?
Oh! Do actors
ever think about it?
(CHUCKLES) You'd be surprised.
How would you like to come work
with me, Marcos?
-As an old lady? (CHUCKLES)
-ROBERTO: No, not, exactly.
How about playing
the character of a little boy?
Marcos Barragán. Virolo.
Virolo?
That's not a well-known name.
He's not even an actor, Roberto.
But he has what it takes.
He's very good.
Extremely talented.
(SIGHS) You're putting me
in a very difficult situation.
I also have to answer
to people, don't forget that.
I know.
(LIVELY MUSIC PLAYING) ♪
Don't spend money
you don't have.
(DEVIL LAUGHING)
Don't pay attention to
what they tell you. Buy it now.
Flee from sin
and from bankruptcy.
The amount of beer
you'll be able to fit
in this beauty right here.
Buy it now!
ANGEL: Save yourself,
don't buy it.
That guy is really funny, Dad.
DEVIL: It probably holds
15 liters of ice cream
He's funny
and he's a good actor.
Buy it now!
Enough, enough.
What if instead I pay
in installments? (CHUCKLES)
ANNOUNCER: (OVER TV)
Pay in installments
at Central Department Stores
and have your wallet,
and your mind, finally make up.
You're a cinephile,
an avid reader,
a doctor by profession,
you're a theatre actor,
-a singer.
-(CHUCKLES)
Anything else?
And I also make tamales
on Sundays.
(BOTH LAUGH)
Well, I don't doubt it.
By the way, Edgar,
we don't use "ear pieces" here.
"Earpiece"? What is that?
(MUSIC CONCLUDES) ♪
-You're totally hired!
-Uh, Roberto, wait a sec.
Don't-- don't you wanna at least
audition him first maybe?
(BOTH LAUGH)
(TELEPHONE RINGING)
EDUARDO: And well,
this is Edgar Vivar.
And what can I say?
The guy's not exactly
overflowing with humor.
He's serious, yes.
He's a serious actor.
But to be good at comedy
you don't necessarily
have to be a full-time comedian,
do you?
All right, Roberto, your cast
is absolutely unknown
anywhere in the world.
I'm not gonna take any chances.
I'm not gonna present
this proposal to Mr. Vargas.
-(GROANS)
-TREVIÑO: Forget it.
What was the name
of the actress
who was on your show
the other day?
Who?
And it's not possible this way.
We're the ones
who have to scrub?
Oh, no!
I just do the dishcloths
and underwear
and if they need anything else,
everyone can go
straight to hell (LAUGHS)
(CROWD LAUGHING)
MARGARITA RUÍZ:
Sorry! I'm so sorry.
We are almost done here
and then we're leaving.
MARGARITA: That’s what I say.
DIRECTOR:
Let's do one more, please.
Very good.
MARGARITA: Slow it all down.
Okay, yeah.
(GENTLE MUSIC PLAYING) ♪
ROBERTO: Margarita, what?
Ruíz. Margarita Ruíz.
Well, Miss Margarita Ruíz,
let me tell you that what I saw
on your set surprised me.
-You are really great.
-Thank you so much.
-May I take that for you?
-Thank you.
In there I realized that
you have everything I need.
That all sounds
either very flattering
or very dangerous.
I need an old lady
in flip-flops!
-Thank you. Thank you.
-And in a very bad mood.
And also,
with an air of superiority.
(LAUGHS)
I'm very flattered, sir.
-Thank you very much.
-But you're just perfect.
Imagine if I were imperfect.
Would you be interested
in coming to work with me
on my show?
On Chespirito?
Are you serious?
Of course I would. I'd love to!
It would be an honor,
Mr. Bolaños.
Gómez.
Mr. Gómez.
Although you can call me
Roberto, if you want.
Mister-- Roberto.
Sorry, it's just--
I'm really excited!
I'm really excited as well,
Miss Ruíz.
Margarita, for you, sir.
Roberto. Sorry.
Margarita.
Well, I think this could be
the beginning
of a nice lifelong friendship.
Yeah, I'm pretty sure of that.
(MUSIC FADES) ♪
Why didn't you say anything?
Me? When?
Well, earlier at breakfast.
When Margarita started
to get involved
in the lives of your actors.
She went overboard,
don't you think?
-Um (CLEARS THROAT)
-(KNOCKING ON DOOR)
(KNOCKING)
-(ROBERTO GASPS)
-Hey. (CHUCKLES)
At the door, we have four
of the six horsemen
-of the Apocalypse.
-(LAUGHTER)
MARCELA: Hey, you look
so handsome today, Dad.
Did we already tell you already?
-What do you want?
-(LAUGHING)
What do you want?
What do you want?
We wanna go see
Manolo Muñoz tonight.
-He'll be at the hotel bar.
-No! No, no, no.
You girls are too young
to go to a bar.
We're not gonna let them drink
anything.
Oh, right.
Should I believe that?
No.
Not today.
I don't like the idea.
And besides,
we don't have anyone
-to go with you girls.
-Oh, well, but it's not like
we want anyone
to go with us either.
(SIGHS)
What do you think?
(DAUGHTERS PLEADING)
-No, girls,
your mom already said no.
-(ALL GROAN)
Also, you're not supposed
to be alone in the hotel bar.
But it's Manolo Muñoz.
Yeah. It's Manolo Muñoz,
Mom. Let us go.
Mom, please, come on.
MARCELA: Mom, come on!
Even you like Manolo Muñoz.
Are you guys going
to see Manolo Muñoz?
No, they can't go
because we don't have anyone
to accompany them.
Oh! But it's in the hotel bar.
If you tell the manager to look
after Chespirito's daughters,
they won't have a problem
with that at all.
Well, that idea
we hadn't thought of.
(CHUCKLES)
I already said no.
It's the safest event
they can go to.
They're gonna be treated
like princesses.
They won't have any problems.
So, then, Mom, will you say yes?
(DAUGHTERS PLEADING)
Do whatever you want.
(SOFT MUSIC PLAYING) ♪
Is that a yes?
(DAUGHTERS LAUGHING, CHEERING)
VARGAS: I do know this one
because she works here
on the Média Naranha program,
but she's also a complete
and absolute unknown.
But she's perfect
for what we need right now.
For what you need, you mean.
And this one? Who's he?
-ROBERTO: Another child.
-Oh, come on, stop already.
How many times
do we need to tell you
that we don't want
children's programs?
Seriously?
This is not for children.
It is for It's for everyone.
(INSPIRING MUSIC PLAYING) ♪
ROBERTO: And the whole family
is gonna love it.
Maybe even the kids
will like it, too, yes.
But above all,
I have to like it myself,
as the audience.
And I am far from being a child.
We really need a group
that represents
the human condition
for everyone.
(CHUCKLES)
A small community
with contrasts of all kinds.
Hey.
ROBERTO:
Therein lies the comedy.
(CHUCKLES)
Great. Hi.
Mr. Vargas, let me introduce you
to your stellar cast.
Well, I'm-- I'm not really
seeing the stellar part.
(CHUCKLES)
ROBERTO:
Let me correct myself then.
This is your future
stellar cast.
For now, I can say we're just
a very talented cast.
VARGAS: Ah!
Here's a very talented actress,
Angelines Fernández.
Might she have a place
in your talented cast?
Of course she does.
She's an extraordinary actress.
-(CHUCKLES)
-ROBERTO: Please, welcome.
Thank you so much.
The elderly neighbor,
a rather bitter woman
(BOTH CHUCKLE)
and madly in love
with her dear neighbor Ramón,
almost to a level of harassment.
Oh! (CHUCKLES)
And that certainly
is a topic for adults.
Great.
Roberto,
we're all in your hands now.
Oh, and also in the hands
of a bunch of strangers.
(ALL LAUGH)
ROBERTO: We're gonna
tell stories of ordinary people.
With their virtues
and their defects.
With their dreams
and their desires.
(CAR HONKING)
The life of imperfect adults
with imperfect families.
(INSPIRING MUSIC CONTINUES) ♪
ROBERTO: The annoying child,
the grumpy old man
the faithful friend
the gossipy lady,
the old spinster.
We're gonna see
normal everyday conflicts.
The jobs
the rent
friendship
love
laughter
brotherhood.
MARCOS: Hello, Edgar.
-(EDGAR CHUCKLES)
-Hi. (CHUCKLES)
(TENDER MUSIC OVERLAPPING) ♪
ROBERTO:
And at the center of it all
it'll be in the heart
of that neighborhood
where anyone can
see themselves reflected.
MARIANO CASASOLA: I want the set
ready in five minutes.
Are we ready?
Are the actors changing already?
WARDROBE ASSISTANT:
Yes, sir. They're ready.
ROBERTO:
The most powerful weapon.
(MUSIC SWELLS) ♪
ROBERTO: The tenderness
of an orphaned
and unprotected child.
That, folks
(MUSIC CONCLUDES) ♪
moves any adult
like nothing else.
(KIDS SPEAKING INDISTINCTLY,
LAUGHING)
(TENDER MUSIC PLAYING) ♪
(KIDS SPEAKING INDISTINCTLY,
LAUGHING)
(VOICES, LAUGHTER ECHOING)
(STUDIO BELL RINGING)
EDUARDO:
Move a little to your right.
-FLOOR MANAGER: Yes, sir.
-Three, move in a little closer,
we're going to start with you.
MARIANO: Tape rolling.
-TECHNICIAN 1: Rolling sound.
-TECHNICIAN 2: Rolling.
FLOOR MANAGER: Okay,
we're switching positions, guys.
TECHNICIAN 1:
Cameras in position.
ROBERTO: (OVER MIC)
Hold on, one last thing.
Remember,
this is a comedy of contrasts
-and has a lot of heart.
-EDUARDO: (OVER MIC) Roberto,
we have to get started.
ROBERTO: Okay, places, everyone.
FLOOR MANAGER:
Everyone in their places?
-Ready, on your marks, please.
-ASSISTANT: Ready? Set.
FLOOR MANAGER:
Come on, cameras ready.
Camera two,
you're too far ahead.
Move back a little.
Turn down the mics,
it's going into the camera.
-Rolling sound.
-(SIGHS)
FLOOR MANAGER:
Silence on the set.
(WHIMSICAL MUSIC PLAYING) ♪
All right, floor.
Action, whenever you want.
FLOOR MANAGER: (OVER MIC)
"The Neighborhood."
Scene one, take one.
All right, in five,
and four, three two!
Girl! Hey, girl, come here.
Get over there and pass me
the ball for a while.
Yes, yes, yes, okay, okay!
Yeah, I'm doing it!
-(CHUCKLES)
-(GRUNTS)
-(GRUNTS)
-(GROANS)
-(COMICAL TUNE OVERLAPPING) ♪
-(BOTH LAUGH)
You're in serious trouble now,
-Quico!
-Chavo! Oh, no!
This is the last week that
I forgive your rent, Mr. Ramón.
-(GRUNTS)
-(GROANS)
Oh! Sorry, I think I slipped up.
It had to be Chavo del Ocho.
Come over here.
-It had to be
-(GROANS)
But what is going on out here?
(CRYING) He wants to hit me
with the broom, Mommy.
-Oh!
-No, no, no. No, no!
Just a moment, ma'am,
I can explain.
The broom belonged to Chavo!
Let me explain,
because things didn't happen
like you think they did!
(GASPS)
(MELANCHOLIC MUSIC
OVERLAPPING) ♪
MARGARITA: (IN CHARACTER)
Let's go, darling,
don't hang out
-with these low-lives!
-MARCOS: (IN CHARACTER)
Yes, Mommy.
MARGARITA: (IN CHARACTER)
Low-lives, low-lives!
EDGAR: (IN CHARACTER)
It had to be Chavo del Ocho!
(MUSIC CONCLUDES) ♪
(THEME MUSIC PLAYING) ♪
(THEME MUSIC CONCLUDES) ♪
(SOFT MUSIC PLAYING) ♪
(MUSIC CONCLUDES) ♪