Original subtitles

[Excavator machine sound]

[Incidental music]

[Steamroller machine]

[Concrete mixer sound]

I don't care how many holidays the month has.

We have an agreement and if I comply, you have

to fulfill.

Pablo!

Did you bring the sale notice? We have to have that

poster urgently.

-Good morning ... -Good morning.

-You got it? -Yes.

-Here it is. -Let's see...

Look.

Yes, but it is not "Washer". It's "Laundry", huh?

We are in Argentina, Marta.

It is exactly the same as what we did for the building

in Lafinur.

In Boedo we put "Washer", not "Laundry".

In Boedo there is "washer" and in Palermo there is "laundry".

Okay.

The rest I think is all good. Correct that ...

Well. Perfect. Send it and it is for tomorrow, please,

we need to hang it now.

It's good, huh?

Yes, I don't think anyone wants you to

put a handle on a building

where half of the surface is design.

Yes, you're right.

Let's keep making these palaces out of cardboard that

people like.

We could stop the work and make a plaza here.

It would make more sense.

Sorry?

-Architect! -Nothing.

I'm going. If I leave them alone, they'll make a pool

in the parking lot.

-The parking". -Funny, huh?

-Bye, Americo! -Bye.

Let's see how that turned out...

[Incidental music]

-Hello, honey. -Hi, dad.

-Let me do it. -You see it get stucked?

Yes.

-How are you doing? -Good.

-You'll go? -Yes, I'm going to sleep

at Anita's.

-Good. Mother? -Above.

-OK, take care. -Yes Dad.

Put the helmet on.

-Hello. -Hello.

How many times did I ask you not to come in with your shoes

when you're coming from the play?

-All right, excuse me ... -Excuse me ...

Cleaning this house is hell.

-I'll clean it. -Yes...

Always the same with you two.

-Francisca went to Anita's. -Yes, I know,

I ran into her downstairs.

I've already finished correcting these exams and was thinking

that we could

I don't know, do something special to eat, since we are

together alone ...

Yes...

Call for takeout, sound good?

[Distant sirens]

-Good morning, Ricardo. -Architect! How's it going?

I have something for you and there is a girl waiting.

Excuse me. Do you work in the construction company?

Architecture studio, yes. What do you need?

I would need to speak to Mario Borla.

He'll be here in a little while.

Thank you.

Thank you.

Excuse me.

-Cute office. -They make buildings ...

We make. I'm an architect.

May I?

Yes.

And you?

Photography.

Photography? Interesting.

I moved a few months ago around the neighborhood.

Leonor, how about you?

Pablo.

Pablo Simó.

His only interest is to know when we're going to deliver.

[Laughter] Besides, it's customary already.

-Good day! -Architect...

Hello, Martha. Good morning, Mario.

She is looking for you.

Hi, how are you? Have you come to leave me something?

-No. I am looking for someone. -Who?

Nelson Jara.

Doesn't ring a bell.

Do you remember any Nelson Jara, Pablo?

Maybe we sold him some apartment,

or we have hired him for a job.

But I would have to look at the files.

So by ear, I don't know who he is.

If you don't mind me asking you, right?

Who are you?

I would need to find him to finish a personal paperwork.

A personal procedure ...

But if it doesn't appear I can't do it, so thanks anyway.

Bye.

-What are we going to do? -Nothing.

It should not be given more importance than it has.

This girl has come looking for Jara.

And Jara is not here. So we calm down.

Too lucky we've had these three years

that no one has come asking for him.

It doesn't seem normal to me, Mario.

Why does she come here asking about Jara?

Why does she think we may know something about Jara?

[Incidental music]

-Nelson Jara. A pleasure. -Pablo Simó.

-Come in. -Behind you, please.

-Here, Jara. -Okay.

Sit down.

The architect Hovart does not join?

No , no, no. From now on I am going to deal with your problem.

So you say.

Well where do you want to start?

Let's start at the beginning.

Very well. Here is all the evidence you need.

If you are a specialist in excavations and collapses,

as your colleague, the architect Borla, says,

I think you will not need anything else.

Colleague or boss?

-May I? -Yes, as if it were yours,

architect.

Thank you.

Did you take the time to measure the crack this morning, Jara?

I measure it every day twice, architect.

One in the morning and one at night, before going to bed.

What is the width?

-The width? -Yes.

The width.

You know the studio is going to pay you the revocation of

your wall.

Now, the architect Borla told me that you're not

satisfied with that.

-It is true? -Yes.

It is very true, yes.

Because that crack puts the structure of my house at risk.

And that crack appeared the next day

that you started digging in the neighboring field.

That field is why the sun enters my house every morning.

Okay. I can't return the sun, Jara.

Now, you were lucky, right? that in so many years

nobody has built anything next to it.

Anyway, I'm not here because of the sun, I'm here for crack.

So that's why I 'm asking you what the width is.

The length of a crack is not as important as its width.

Didn't you know, Jara?

Look...

The crack that you show me here in the photograph

it's long, yeah.

But that does not necessarily imply any risk

for the building structure.

Do you understand me?

It seems to me that the one who doesn't understand me

it's you, architect.

Because they won't fix the wall

with a little plaster.

Because I know the building code from the city

very well.

You know? And in your article...

5226, that's right, it says:

The excavations will be carried out in such a way

that the stability of the slopes is ensured

and vertical cuts, etc. etc. etc...

Except that a soil study

indicates that shoring is not necessary.

However, when you presented the study of

soils in the Municipality,

the engineer Zanotti, I think he is, engineer Luis Zanotti,

didn't say at any time that the shoring was not necessary.

And you worked without propping,

I have everything photographed,

and with longer cross sections than allowed.

Excuse me, but I don't understand what this has to do

with your crack.

That my crack ... You do well to call it "your crack",

because it's mine, it 's in my house.

I sit in front of it every day.

In the morning when I have breakfast, at noon, at night.

Because I see it...

I look at it, I take pictures of it.

I even speak to it.

Can you believe I'm talking to that wall, architect?

My crack, as you say,

appeared when you guys started digging without

underpinning.

The work you did caused it. This is so.

I would not be so emphatic.

For me there are some technical questions that I think

you are not...

The lack of shoring produced collapses.

And these, in turn, produced chain movements

that arrived at the land of my building.

You are more adept at it than I am from what I see.

Y, las circunstancias me han obligado, arquitecto.

And it's the same circumstances that now force you

to offer me more than miserable insignificance

to cover the crack with fine plaster.

You will have to think of something else.

Can you give me a minute? I'll be back.

-Of course. -Excuse me.

Why does she think we may know something about Jara?

Marta, this girl ...

This shouldn't be the only place where she has been asking.

She may done it all over the neighborhood.

Surely she asked at the cafe,

in the butcher shop, to the doorman of the building.

This has been a coincidence.

I think this girl is not going to appear again asking

for Jara.

And if she does, then we have to do what

we have done now.

Say we don't know who he is.

Easy, Marta. There is no risk.

We are going to have a coffee in my office so we calm down.

Pablo will stay and tell us if there is anything.

[Incidental music]

[Door closes]

[Underground]

[Street sounds]

[Rain]

[Incidental music]

I know that all teenagers snitch on each other.

But what about the scare I got?

Do I have to see it?

Three blocks from school, with three guys drinking beer?

-Guys? -Three boys, mom!

-Anita was there too. -Guys.

One had a beard.

Yes, a teacher.

Are we always going to eat salad?

Why don't you cook if you want to eat something else?

Ouch, son of a bitch!

Put it on the bobbin.

-No, it's not that bad. -Put it on the bobbin.

[Phone ringing]

Hi.

Marta!

Here.

Thank you.

Hi.

I'm scared, Pablo. And you?

Well...

2 centimeters reach, architect?

2 centimeters 28, to be exact.

What?

You asked me a while ago, before going to the bathroom,

how much was the width of my crack.

And I didn't know what to say to you.

I ran out of arguments. You grabbed me.

So, excuse me, I was so daring

to use the phone

and I called the manager of my building to go measure.

And he went and measured.

2 centimeters, 28.

Do they reach?

Let's see ... You know that Borla Studio & Associates

doesn't think that the crack that appeared in your apartment

necessarily had to do with our work.

And I think it did.

I say that you are responsible.

We've had building troubles for years and we never dropped

a single wall.

But do you know what happens, architect?

That a person's life,

from a person like you, like me,

it is more than a statistical question.

Don't you think?

Just one and only time

so that any wall ends with one.

I think you don't understand me because you don't know

what am I afraid of.

I am not afraid of being crushed to death.

Death...

In short ... What are you going to do?

It's the end point, and voila, right?

No, I'm afraid the wall will fall off

when I am not at home.

So, get there ...

And suddenly see my house...

My kitchen...

My table, with the tablecloth...

The chair I sit in...

My fridge, my water heater... My life!

On the edge of the abyss.

And without being able to do absolutely anything.

Do you get me?

I think so, that you understand me.

Let's see...

Jara, tell me.

What do you want ?

Money..

-Ah ... -Money. Silver.

Money that pays for all the inconveniences this has caused.

And eventualities.

Because if it were about just covering the crack with

fine plaster,

the truth is I could have done that myself

without disturbing you.

You and all your people.

Here there may be ...

risks to other departments of the building.

And for me shut up...

It has a price, architect.

I will be waiting for you to call me.

Let's see, excuse me, Jara, but...

How much are we talking about?

-No! -How much twine?

Don't come at me with that.

No, no. Let's see...

It is you who is knowledgeable in these businesses, not me.

You say the amount.

I leave it to your discretion.

I trust you.

That is to say...

I trust...

that you...

will know which side...

you should be in.

[Incidental music]

Pablo. Hi.

Yes, yes, I am here.

Are you scared?

No. Borla said we don't have to worry.

Yes, I know what Borla said.

So?

Nothing, nothing. It doesn't matter.

[Sighs]

Where are you?

At the door of your house.

Down there.

-I'll be down in a minute. -What's going no?

No, it's Marta. She's outside...

I have to bring her some papers that I forgot to give her.

We are eating.

Salad doesn't get cold, che ...

Here I come!

Do what you want, you know?

Can you explain why she came looking for us?

I don't know.

Maybe it's his daughter and he told her about the crack.

OMG!

I will not be able to sleep.

I do not know what I'm going to do.

- Did you speak with Borla? -I don't want to talk to Borla!

[Sobbing] I'm here with you.

It's okay. Don't call him.

Yes, you better not call him.

But he said there is no reason for us to be concerned.

I would not be so confident.

[continues to sob] I don't know what I'm going to do!

-I don't know what I'll do! -Okay...

Relax, stay calm.

Go home. Nothing is going to happen.

I'm serious. No... Nothing will happen.

Go home. Sleep and try to calm down.

Really.

[Engine turns on]

[Cell phone]

[SMS] Hello, I am Leonor. I lost this phone.

I will reward calling this number. Thank you.

-Good Morning. -How are you, Mario?

I didn't like that girl.

I thought you were relaxed.

No.

I wasn't calm. I did it for Marta.

I don't want her to panic.

You know how she gets when she freaks out.

Yesterday before leaving she suggested that we close the

studio for a few days.

Yes... Well, yes, she called me. She is quite disturbed.

She call you?

She also called me.

What happens is that I couldn't talk to her,

I was dining at home.

What did you say?

I tried to reassure her.

I can't locate her. I don't know where she is.

But it's what you told us, Mario.

Surely she was asking in the neighborhood,

or to some zero meat, to some doorman.

Pablo, we are not doormen.

We don't have a butcher shop.

No one is a regular customer of an architectural firm.

You see? That's the weird thing. Something I don't like.

I want you to be alert.

If that girl shows up around here again,

I want you to find out who she are.

What she's looking for.

How did she get to the studio, and especially why now.

After three years.

I'm just telling you to be vigilant. Nothing else.

Good day.

Where were you?

Working, where am I going to be?

I've been calling you all night.

They are waiting for us.

We'll talk later.

[Street sounds] See you.

Am I ok here?

I know I'm a scandal for you, I ran as much as I could.

-What's up? -I want to talk.

But she can't come here and make a scene...

You should've been in school.

Your mom was nervous, that's why she came.

Yes, but it doesn't matter. She can't go in and take me.

-It's like I'm a baby. -But you are a baby!

Well it's okay, forgive me. But you are a teenager.

We are your parents. It's okay.

-It was always like this? -Enough.

Enough, because she's not a friend of yours. She's your mom.

Anything else?

Promise me you won't do it again.

Ok, I promise.

-You're good? -I am.

How do you see me?

See?

Yes, how you see me. If you see me well ... bad ...

If I'm old, half-decent...

How do you see me?

I don't see you, dad.

You are my dad. I don't know...

Look at me then.

-And tell me. -Are you serious?

Seriously.

Are you sure you want to know?

[Photo machine noises]

I don't like to have my photos taken.

Well, sorry.

Here.

I told you I could go find him.

No.

I came for the reward.

I invite you to a coffee.

Twenty years is a long time to always do the same, right?

Although, it seems like an interesting job.

It really isn't as interesting as everyone thinks.

We don't always do the buildings that I would like to do.

-Did you solve your procedure? -Yes, luckily.

Did you find the guy?

What guy?

The one you were looking for.

Ah no, I looked everywhere but...

It seems that the earth had swallowed him.

I thought he was important for you to do your paperwork.

I have to go. Can you give me your cell phone?

I don't have a cell phone.

-Really, believe it or not. -No I don't believe it.

As you like.

I'll call you.

You already booked me.

Eh...

Don't forget it again.

I did not forget.

[moaning]

Shit, slowly!

[Pablo breathes heavily]

[Phone ringing]

Hi.

Pablo, could you come, please?

Good day.

You're good?

-Pablo, what are doing? -Mario, Mario...

What's wrong?

I arrived early

and there was a message from this girl, the one

looking for Jara.

-What did she want? -Pablo, don't play

dumb!

What?

She wants to talk to you, she is looking for you!

Well, I don't know what she wants!

She doesn't know anything, huh?

-Why is he asking for you? -I don't know, Mario. Let's see.

I know the same as you.

If you want, we'll call her and see what the fuck she wants.

No. Don't call.

Let's wait for her to call again.

Of course, this is getting weirder.

Ready?

Excuse me.

I'm going to talk to him.

I'm not going to pay a single penny to that old man.

Why would I have to pay?

Tell him I already collaborate with the nuns at Christmas.

-I'm also a partner of UNICEF. -Mario, look.

The crack is important.

But it's not like the house is going to fall down.

Also, you know that I am going to fix the wall.

What I don't is why this old man wants to do business with me.

I don't like the living.

No, he's not being alive, Mario.

Pablo, whose side are you on?

Well, well, well.

The important thing is to solve the Jara issue.

This? We need time.

That you make up something, that you tell him something that

keeps him away.

A few days, so that we can move forward with the concrete.

Hold him still until we build.

Once we have covered the well and the

slab is already made,

nobody with two fingers in front will process any complains

from this guy.

he forecast says that it will not rain all week,

I believe that in four days the slab

will be ready.

It's okay. I'll take care of it.

That's how I like it! Ready.

[Incidental music]

Mr. Jara, your subject is almost defined.

The studio was a nalyzing the case and

consulting specialists.

We will surely take care of the damage.

What remains is to formalize the agreement in writing.

In a few more days you will hear from us.

Pablo Simó, from Borla Associates & Architects Studio.

Mr. Simó, are you there?

I need to talk with you.

That letter you sent me is useless, huh?

Here they are advancing with the work

and we have to close ours as soon as possible.

Don't run away from me. I warn you.

[Train entering the station]

[Soft music]

-Hello, welcome. -Hello.

-How are you? -Good. I want a phone.

Can I?

Yes, of course.

[Incidental music]

-Hi! How are you? -Hello. Who is this?

-Pablo. -Simó?

Yeah. You called me.

-I need your help. -How?

Well I actually need five building fronts.

What kind of buildings?

The five most emblematic buildings in the city.

According to the architect Pablo Simó.

I don't know what value they can have

those buildings that I like for those photos.

For me it has.

You should not settle for the taste of others.

Taste is not an objective thing.

Are you going to help me or not?

I'll put together a list for you tomorrow.

Or better than that ...

-You want to come with me? -I'll call you later.

-What happened? -Your daughter is a lesbian!

-What? -Lesbian, Pablo.

Gay, homosexual.

But why do you say that?

Because I entered the room and she was kissing Anita.

Kissing and... I don't know, something else?

They kissed, Pablo, what do I know...

They had their mouths open. [Sobs]

You don't know the impression it gave me to see it!

Dad, can you come to my room for a minute, please?

Yes, I'll go, honey. Come on

-And what does she say? -She said nothing.

What do you want...? Why does it matter what she says?

-Let me talk to her. -What are you going to ask her?

How does it feel when you stick your tongue up to the bell?

You have to calm down, have a drink.

Yes, I already drank.

And it did absolutely nothing to me.

I don't think it's that bad.

What do I know, it is not serious.

Today youth, boys, girls, what do I know ...

Since when are you so liberal?

The youth of today?

What do I care what the youth do?

I care what our daughter does.

Well, OK.

Keep it up then. I am going to talk to her.

Do what you want.

[Music] What are you listening?

I don't know.

It was passed to me by a friend who always finds strange things.

-You like? -Yes, I like it.

Who is that friend who gives you strange things?

Toni.

Do I know him?

It's one that I run into after school sometimes.

The one mom doesn't like because he has a beard.

Your mom must be regretting criticizing

Toni and his beard.

[Both laugh]

Mom always takes things very seriously.

Yes, I kissed Ana. That's true.

But does that make me something from now till I die?

No.

-You like women? -I don't know, dad. You tell me.

Ana is my friend and she asked me to kiss her.

I kissed her because I wanted to know what it felt like.

Am I gay?

Why then, if I kiss as many men as I kissed,

doesn't make me the opposite?

So many men?

-Dad... -Forgive me, but...

Yes, I've kissed some men.

And now a woman.

Do I already have to know who I want to kiss the rest

of my life?

No.

Well, nobody at your age knows what they want for the rest

of their life.

Well, dad, but mom is forcing me to do that.

[Pablo sighs]

Yes ... With each thing I do, will she give me a label?

If I smoke a joint, I'm going to be a drug addict.

If I drink, I will be an alcoholic.

I just kissed a friend, that's what happened, I swear.

You don't have to swear to me.

Do what you want. It's your life.

[Gasping]

[Incidental music]

[Sound of excavator machine]

On Thursday morning the irons have to be here.

-Thursday. -Yes, Thursday.

If they don't arrive, please call me.

Yes, yes. We fill that in half an hour.

I cannot believe you. This son of a bitch...

I can't ...

Go and stop him, please, Mariano. Go stop him.

Tell him he can't be here. Today he was watching all day.

-I'll tell him, I'll tell him. -All day watching.

And not content with that, he got into the work.

Taking photos for everywhere.

I sent him to the foreman, told him to stop it.

And nothing, I couldn't stop it.

He said he had every right to be there.

To take those photos.

What if we had something to hide...

That if we had a dirty ass, I don't know what ...

I don't know what else to do. I honestly don't know.

That's it, Marta.

It is done. You don't have time to go and stop

the work now.

Nor can you go to make the complaint. It is done.

Yes, tomorrow at the first hour we pour concrete.

The well disappears and the old man disappears.

You're right.

I am right.

You're right.

[Incidental music]

[Street sounds]

Simó!

What are you doing here?

Waiting for you. What else could I be doing

so far from my neighborhood, architect?

How do you know that I used to go out here?

Well ... You leave the subway every morning,

you go into the mouth of the subway every afternoon.

The day I was in his office I looked at the gas bill

that was on the desk

and this is the closest station to the address

listed on the ballot.

Have you been checking my gas ticket?

No. Wait, wait, wait.

Don't take it wrong and don't jump to conclusions.

I have a problem, I have an obsession.

I spend time comparing what I pay

with what others pay.

Understand? And that day I was alone in your office ...

I don't know if you remember. You went to the bathroom...

And the ballot was there, at my fingertips.

On the desk, it wasn't even in an envelope.

It was about flipping it around a bit and looking. Nothing else.

There was a risk. The ballot wasn't in your name.

It was in the name of a woman.

Yours or someone else's, architect?

No, surely you are not one of those who pays for gas

to a woman, if it is not yours.

-Do you understand me? -I'm trying to do it, Jara.

Come on, there's a coffee here.

[Open and close the lighter]

You spend too much on gas, architect.

-Won't you have a loss? -No.

I would have noticed from the smell.

No, but look there are times when they are very small.

And they mix with the smells of the house ...

Or they disappear if it is ventilated too much.

If I were you, I would review it.

Of course, you are three and spend more than a single man.

How do you know there are three of us?

Didn't you tell me, architect?

No.

As far as I remember, no.

No, yes, surely you told me.

If not, how will I know?

That is not on the invoice.

Of course it is not on the invoice.

You won't think I'm spying on you, right?

-I don't think anything, Jara. -You think.

More than you say.

Thank you.

Surely you told me, relax.

What do you want, Jara?

-Did you receive my notes? -I received them.

At this point, I don't know if I can believe a note from you.

To believe, I needed to see you in person.

-What do you want to insinuate? -Insinuate, nothing.

What I wanted was to convey my concern.

My annoyance.

Until...

My bitter suspicion, I would say, there is a locked cat here.

Because all these last days there were strange movements

in the work.

Let's see ... not strange.

Hasty movements.

To be more exact.

As if they had to do something unforeseen.

And they had a stick up their ass.

And why is that worrying you?

Because I'm afraid the stick

will end up in my ass.

But if you finish the work sooner, for you it is better.

I don't give a damn if the work is finished sooner.

All I want is to be paid what is fair.

And you wrote those notes that you signed in your handwriting

that you were studying my case.

Yes, we are studying your case. What happens is that, well,

we still do not have a definitive answer to give you.

All you did was waste my time

to give them time?

Am I wrong?

Always the same, dammit! [Hits the table]

Always the same.

Now what does always the same mean, Jara?

That small fish... instead of defending their own

they always end up defending the big fish.

Thats what I want to say.

Check the history of mankind and you'll

see if I'm lying.

And do you know why?

Because that gives them to hope that they will

be what they are not.

I'm going to tell you one thing, Simó.

As much as you take their side,

you will never be one of them.

Do you get me? And you know it.

Okay...

At least pay for my coffee.

One more thing. Sorry.

An architectural question, if I may.

Is there something, any circumstance,

any casualty that can stop tomorrow's concrete?

Rain.

Then it will rain.

If it has to rain, I assure you

it is going to rain.

[Incidental music increases in intensity]

[Bulldozer]

[Falling earth]

[Breathes hard]

What are you doing?

No, I'm here, reviewing.

What thing?

I wrote down some things. Now I'm crossing them out.

This Saturday, I will not be able to go to the supermarket.

You are going to have to go alone.

Borla asked me to take care of one thing.

Ah, I thought we could go to the movies after

going shopping.

We haven't been in a long time.

Are you coming to the cinema?

I'm not sure. I don't so.

Well, let me know later.

You snored.

What a nice comment of yours! I snored...

Can't you think of something else after what happened?

Forgive me. I'm tired I apologize.

[SMS] I have the list.

That is Cameroon. The name is there.

Do you have it for me?

-Yes. -Thank you.

[Takes a photo]

[Continues taking pictures]

-And? -Good.

-Where do we continue? -Upwards.

Let's go up then.

[Street sounds]

-Something wrong? -No, no, no, no.

Get on this side. There you go.

What are you doing?

Women go on the side of the sidewalk and men

go on the street side.

Who said that?

I don't know who said it, it's a habit.

Sure, and you're very attached to habits, right?

But what, brings bad luck? Something like...?

Going under a ladder or coming across a black cat?

It is very good, yes. It could be something like that, yes.

You are very funny.

I think it's the first time someone tells me

I'm funny.

Maybe you're just funny to me, right?

[Incidental music]

Fifth building on the list. Barolo.

[Takes pictures]

So the building is inspired by Dante's

Divine Comedy?

Yes. We already went through hell, purgatory,

now we come to paradise.

There's a lighthouse up here that lights up at night,

like the choir of angels.

That's how Dante imagined the paradise.

You like it?

Let's go home.

[Soft music]

Here, around the corner.

-On the way back to the studio? -Yes, did you see?

You always knew that, right?

Yes.

[Incidental music]

[Music increases in intensity]

Hello Mario. Listen to me, Marta called me.

Apparently there was a problem in Giribone's work.

At this hour? It cannot be.

-Why didn't she call me? -She named him Jara.

He said you have to go there.

What a son of a bitch!

-I 'm coming. Thank you. -Okay.

[Footsteps in the mud]

Marta.

Relax.

Tomorrow we repair the pipe and...

And if time helps, we can work.

-Look at the well. -Huh?

Look into the well.

Pablo.

Thank goodness you came.

I just didn't... I wasn't going to be able to.

-Jara? -Jara, yes.

-What happened? -He slipped.

He was arguing with Marta, crazy, crazy.

-And he slipped. -Did you call the ambulance?

Pablo, he's dead!

Do you think an ambulance needs to come?

Well, then we have to call the police.

I don,t know. I was going to.

But do you know the time that they are going to close the work

with such an accident?

You know perfectly

that without a building to show,

it is more difficult to sell.

What do we do? How about?

It doesn't matter if we say he's a son of a bitch.

hat he was extorting us, that he set up all this

to remove the twine.

Do you know what he did? Befriended the serene.

He appeared with a radio to listen to the game.

He brought a pizza and wine.

When the guy was careless, he left him locked in the workshop.

Luckily, he had a cell phone on him and was able to call Marta.

When Marta came, she found the guy who was possessed.

He broke the water supply pipe.

All this was already a neighborhood.

Do you know how much he asked for? 30 thousand dollars.

30 thousand dollars, the old bastard!

He is an extortionist.

I think you have to call the police.

Why do we need the police?

To top it off, he wanted to touch her.

That shitty old man wanted to touch Marta!

-Jara? -Yes, Jara.

It is useless, Marta. [Whining]

-You smell good! -Do not touch me!

-Do not touch me! -Yes, I'm going to touch you.

-Don't touch me. -I'm going to touch you! Kiss me

Out! Out!

It was not enough to ask for money. He also wanted Marta.

Our Marta.

At least she was able to break free.

What worries me the most is her.

They are going to arrest her, Pablo...

Did this guy have a family?

No. That I remember, no.

Once, he told me that he lived alone.

That is good, Pablo.

It's great that this guy has no relatives.

That allows us more freedom of action.

-For what? -Given the circumstances,

the best thing is for Jara to disappear without a trace.

It won't be difficult to hide the guy in the middle of this.

Another form of burial.

What do you say?

-I don't know... -Pablo.

You cannot not know.

There is no other. This guy is dead.

It was an accident. He has no family.

No one is going to come looking for him under the concrete.

You and I have to make this decision.

We're here.

Sometimes, life puts you in places where you have to decide.

Which side are you on?

Which side are you on, Pablo?

[Suspense music]

We are doing the right thing.

Whatever we do, the only witnesses

are the three of us.

You can be calm in that regard.

-And the serene? -He doesn't know anything.

When we opened the workshop, Jara had already fallen.

In addition to the fright he had when he saw me

and how crazy he was,

he was barely able to open the door of the taxi I asked for.

Please.

Pablo.

Please.

[Music increases in intensity]

Let's put him in the pit.

[Dramatic music]

-Are you sure he's dead? -Yes.

You grab him by the feet.

Isn't he passed out?

He's dead.

Let's get this over with as soon as possible.

Grab him by the feet. Set him up. There.

Let's go! Set him up.

His forehead.

I better get the shovel.

Wait.

His forehead.

You have to cover him with dirt completely.

[Digs the earth with the shovel]

What are you staring at?

I'm going to fix it when I get a little silver.

It's not serious, is it?

No. It isn't serious.

[Hammering]

It is superficial.

He did it on purpose.

Who?

You know who.

Why did you tell me you didn't know him?

Who are you?

-You're his daughter, right? -Whose daughter?

Jara's.

-Are you his daughter or not? -No.

-Relative? -Neither.

I know that you are living in this apartment.

And that is not yours.

I will regret having trusted.

Who are you, Leonor?

Who are you?

I have been working with a lawyer for four years.

Almost five.

Someone wants to charge and cannot

the lawyer takes the case, presses, insists,

chase, whatever.

But it makes the debtor scare and pay.

I only do the administrative part.

The papers, the paperwork, crap, little things.

And?

Do you want to know what the real deal is?

Yeah, of course.

Staying with foreign departments.

-Usurp. -Okay...

Such cases appear every day.

A guy, a family, whoever,

you get into a house that maybe has owners,

but they no longer inhabit it.

And in time not even a judge can remove them.

Did Jara work for you?

No.

We have an agreement with the administrations

of consortia.

With the real estate agencies, with the doormen.

There are days that, years later when it has passed

the time that the law says,

the lawyer puts them in his name and sells them.

If they don't put him in jail first.

Look around you. The people you know.

Did everything go right?

The architect that you work for...

Your neighbors.

The guy they are going to sell the next apartment to.

Did they get everything in good law?

You yourself, didn't you do anything like this in your life?

Why do they and not us?

Everyone did some, Pablo. You know it.

Bigger, smaller, but they did it.

And if they didn't do it, they're going to do it.

And if they don't end up doing it, they'll regret it.

No one likes to be the only stupid one.

And which one did you do?

The writing was clean.

Jara did not appear and I do not know what happened to me or when

I decided exactly, but ...

I remember going with the reports in hand

and the calculation of what had to be put

to stay the department,

and when I was about to enter I thought ...

And why not me? Why not for me?

I waited a year, I waited two.

And when the third one was about to be fulfilled,

I started to pay my past due debts myself.

So I came with a locksmith.

[Incidental music]

I changed the lock, then it was mine.

-When was that? -About two months ago.

-Do you think I'm a monster? -No.

No. Everyone did something, like you said, right?

And which one did you do?

While cleaning, this appeared.

I don't know, there were so many things that talked about you,

it seemed like there hadn't been anything in this guy's life

that mattered more to him.

So it seemed better to go see them and find out

if they knew anything about him.

You read it?

Yes.

The guy was obsessed with you.

-I have to take it. -Why?

Because if anyone knows that you have this here,

you won't have an apartment.

And what happened to Jara?

-He left, don't worry. -Aren't you going to tell me?

He won't return.

Stay calm.

[Train passing]

Relax.

Easy, Marta. There it is, there it is. It is done.

It would be nice to get a little bit of a fix on things.

I don't know, throw more earth on him, leave the ladder

where it was...

Clean food scraps... don't you think?

We better go clean up now,

and return before other people get here.

And you, Pablo, when you come back, please,

I want you to stand there next to that pit.

Let no one but you come within two meters of there.

Until all of this dries and the concrete is overturned.

You, Marta,

I want you to stay home tomorrow.

No. No, no, no, no.

No, I prefer to be here.

Rest first.

That we are going to make this end well.

I promise you.

Really. Come in the afternoon.

All this, after all, is not going to dry up

until after noon.

What I don't want is for somebody to notice something

happened to you.

Thank you.

Thank you very much.

It's okay. [Incidental music]

We did what had to be done.

[Train passing]

[Voiceover of Jara in off] Pablo Simó is an architect.

He's married. Laura.

And he has a daughter. Francisca.

Works since he was received in a dependency relationship.

He's not associated with the studio of the architect Borla,

despite working there for almost 20 years.

Travels by subway, although that implies

a much longer journey

and less direct than what you would do collectively.

Either he is bothered by traffic or he likes to be buried alive

below this city.

Women are not known outside his marriage,

except for a huge attraction for the architect Horvat.

Not always distributed.

Simó was spying hidden from the corner.

Elevator!

And he knows he didn't receive me.

Today Simó couldn't look me in the eye.

Pablo Simó is an obsessive, detailed person.

At times he thinks he has to be hard and he tries.

But it's not in his nature to be like this.

As if he had been taught that those are

the rules of the game.

Partner? He's more on this side.

An ally? than on the side of the others.

There's something about Pablo Simó. Are you lying?

He takes my side... Is he a coward?

He says he'll help ...

Do he feel pressured by your boss?

But then it doesn't. Whatever happens,

I will always be there.

If he were a little more open,

I would have already offered him part of what we get from Borla.

I am alone this time. They will feel my gaze.

Whatever happens.

Because I like Pablo Simó.

I was wrong. I can't count on Pablo Simó.

It will be without an ally then.

Simó is on this side, but he hasn't noticed.

Luck just ran out.

Did you sleep?

Yes, yes, a little yes.

Men are lucky.

-Almost nothing wakes them. -Don't be too sure.

I spent many nights awake.

When?

In all these years we have been living together.

I did not realize.

Because you slept.

In any case, it will be for something less.

We never had anything happen to us as terrible as what

is happening now.

Don't speak for both of us.

What, are you going to tell me that something serious happened

and I did not realize?

A few years ago I buried a man

under the slab where our office is currently.

Still today I wonder if that man was dead or alive.

Based on your scale of serious things, which would go first?

The sexuality of our daughter?

Or that I have buried a man?

[Soft music] [running shower water]

[Suspense music]

[Jara] I measure it every day twice, architect

I trust that you will know which to side

you have to be.

[Marta] It scares me.

Get it off me, please.

[Jara] Always the same, fuck!

That the small fish, instead of defending their own,

they always end up defending the big fish.

[Leonor] Everyone made some, Pablo. You know it.

And if they didn't do it, they're going to do it.

[Borla] Which side are you on, Pablo?

[Torn papers] [Intense music]

[Breathes hard]

[Jara] Why is it that I like Pablo Simó?

Pablo!

What was so urgent that you wanted to tell me about?

I want to stop working in the studio.

What?

Yes. I want to stop working with you, Mario.

And why?

Life change.

I have a friend who at 40 left everything.

To go climb the Lanín. You know?

He is now 41.

And he's returned to work at the same law firm

he was in.

Of course, with a slightly lower salary.

I'm not going to climb Lanín.

-I'm going to build a building. -Really?

Well, why don't you bring me the project?

If I think it's worth it, we do it.

-Why did you never associate me? -In a building?

No. In the studio.

Because ... I don't know.

Because it was not necessary. Because you didn't ask me.

But if it's about that, I can associate you.

With a symbolic percentage, of course.

No.

I want to go now.

-Do you already have a job? -No. It's something of its own.

Within the profession

or a job in another type of business?

No, it is within the profession.

Bah, rather, close to the profession.

Okay.

You'll have to give me a few days to get a replacement.

-Can I count on that? -Count on that.

Of course, it is not many days, right?

Now...

We would have to talk about compensation,

don't you think, Mario?

-It was 20 years of work. -Compensation?

Pablo, you are quitting.

I'm not firing you.

It wouldn't be fair.

[Wood breaks] [Scream]

Give me a few days to think about it.

Yes, we agree, Mario.

-Martha. -Pablo! What are you doing here?

I came to say goodbye.

What? Are you going on vacation?

But I told Mario that we had to finish...

I quit.

-What do you mean you quit? -Yes.

I quit. I just discussed it with Borla.

What are you going to do?

I don't know.

Something new I guess.

-Your project. -Well, don't come to me now

if it doesn't work because it's just design and... all of that.

-I told you that? -Yes.

-I'm tremendous. -You are tremendous.

Okay...

Good luck.

If you need me, you already know where to find me.

[Soft music] Do you think about that night?

I try not to...

Because I do.

All the time.

There are things that I do not understand.

There is nothing to understand.

He slipped.

[Pablo off] Pablo Simó is a frustrated architect.

That despite how little he has to lose,

he panics when going places

where he's been established.

His job, his marriage.

His life without music or friends.

Nor lovers. Nor love.

He knows very little about himself.

Who has a daughter whom he loves,

and a woman he doesn't.

He would like to build a buidling where people

can admire art.

And fears he never will.

Who buried a man under the slab of a building.

And, until today,

he stood on the side where he shouldn't be.

[Incidental music]

-Hello. -Hello.

What wrong?

I'm leaving.

I want to separate.

Stop fucking around.

We are very nervous with all that's happening.

The last thing missing is that this affects our relationship.

Let's see, do you want to tell me why you want to separate?

Because I can't find any reason for us

to still live together.

Do you think you're very special?

I mean, how many marriages do you know that have motives

to stay together, beyond the fact of being married?

Or did you come up with a romantic or stupid idea for

our marriage at this age.

I was always stupid.

Pherhaps, now I'm starting to be romantic.

At this age you will not show off.

You have another? Tell me. You have another woman?

No, I don't have another woman.

I have nothing.

All I have is this suitcase

and the guy I told you about that I buried..

You told me that so I leave you.

But I won't leave you.

I'll stay, through thick and thin.

With dead or without dead.

If you want to separate, you are going to have to go.

That's what I'm doing.

[Incidental music]

I already rented a department, so I'll call you tomorrow

and I'll pass the data to you.

Go ahead.

-Are you good? -Yes dad.

Do you want me to put mom on?

No, no, no.

I'll call her tomorrow.

-I love you so much. -Me too, dad. A kiss.

[Continues opening and closing the lighter]

[Footsteps in the mud]

[Throws a bottle]

[Incidental music]

What a fucking motherfucker!

Architect!

What a surprise to see you here, I did not expect to see you.

What a shitty weather, right?

Did you see how unstable it is? [Marta gasps]

[Jara laughs]

This will be more expensive than having given me what

I wanted, architect.

[Strikes furiously] More and more water comes out.

-Motherfucker! -Are you an architect, Marta?

Where did you study architecture? [Beat and scream]

Sick bastard!

[Lighter opens and closes] [Thriller music]

[Pablo off] What would happen if one of these afternoons

I go visit them?

Because there was a fundamental fact that you

ignored and ignore.

[Voice of Jara in off] That you ignored and ignore.

[Pablo] And when you threw me into that pit,

[Pablo] -I didn't die.

[Jara] -I didn't die.

[Jara] And by chance, distraction...

[Jara] -or human error

[Pablo] -human error ...

you made me go out before closing

your damn concrete.

[Jara] -What would happen?

[Pablo] -What would happen?

-Well, we'll know. -We'll know.

[Jara] Because one of these afternoons, I'll be there.

To bring you in person my warmest and

sincere greetings.

[Pablo] And sincere greetings.

Greetings that I keep inside me

That I keep inside of me ...

-since... -since...

-three years.

[Jara] Sincerely,

Nelson Jara.

[Light music]

[Starts hitting]

[Continues hitting]

[Wall collapses]