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00:00 (typing)
00:02 (music)
00:05 - Anything else?
00:06 - Coffee.
00:09 - I'm serving, Elias.
00:11 - Sorry, I'm serving one of my tables.
00:13 - Excuse me, please.
00:15 - One of your tables? That's my table.
00:20 Two coffees with milk.
00:21 - But a minute ago you asked me to bring two coffees with milk to table four.
00:24 - No. I said four coffees with milk to table two.
00:27 - No, there's no one else at table two.
00:29 - See? You take too long to serve them,
00:31 and people leave without having coffee.
00:33 - Shh, shh, shh.
00:35 We're lowering the volume. What's going on here?
00:37 - Nothing. Elias, you took too long to serve some customers
00:39 and they left without having anything.
00:41 We're not where we are.
00:42 - What table are the customers at?
00:44 - Table two.
00:45 - But there's been no one at table two for over half an hour.
00:47 - Like I said.
00:49 - Well, more respect for your superior.
00:51 And more in front of the customers.
00:53 - Of course.
00:54 So, what do I do with the two coffees?
00:57 - You put them on as a hat.
00:59 And if you need a break, you take it.
01:02 - No, not at all. It was just a misunderstanding.
01:05 Sorry if I raised my voice.
01:07 - Oh, for God's sake. There's nothing to forgive.
01:09 But I'll tell you one thing.
01:11 You can tell me the truth.
01:13 Besides, it's obvious.
01:16 - What's obvious?
01:17 - That I had to give you another chance to shut up.
01:20 - Oh, yeah? I can't explain it.
01:22 You look like you have more problems.
01:24 - Oh, Elias.
01:26 You're going to get them all.
01:28 - Miguel.
01:29 - Shut up.
01:30 - Hi, Elias. A coffee with milk, please.
01:32 I'm in a hurry.
01:33 - On my way.
01:34 - Wow, that was fast. Thank you.
01:36 - Miguel, we have to take drastic measures.
01:38 We have to take action.
01:40 - Excuse me?
01:41 - Yes, Cañete is suffering the most because of Trini.
01:44 - Because of Trini?
01:45 - Yes. I can't see a friend suffering so much for a woman.
01:48 So I've made a decision.
01:49 - You'll see.
01:50 - Yes, I have to do it, Miguel.
01:52 In life, friends are one of the most important things.
01:54 - Totally, totally.
01:55 But look closely, because Cañete doesn't want you to...
01:57 - Yes, yes, he wants me to.
01:58 And if he doesn't want me to, I don't care.
02:00 Because he needs it.
02:02 - You're a girl too much in a hurry
02:17 to have to repeat things to you.
02:20 - I repeat, I don't know where Emilio is.
02:25 - You're lying, Inés.
02:27 - But not so much to deceive me.
02:29 Either you tell me where Emilio is for good
02:32 or I'll have to get him out for bad.
02:34 - But I haven't seen him in days.
02:36 I don't even know why he's hiding.
02:38 - I hope for your own good that you're not hiding where that bastard is.
02:41 Because I swear that...
02:42 - Look, no matter how much you ask me,
02:44 the answer will be the same.
02:45 I don't know anything.
02:46 - Why should I believe you?
02:48 - Because it's the truth.
02:49 The last time I saw him was like two or three days ago
02:52 in Madrid, Cabaret.
02:54 He was working and seemed busy.
02:56 - Yes, and he was.
02:58 And why did you go there?
03:00 What did you talk about?
03:02 - Well, I don't know about anything and anything.
03:06 - What did you talk about?
03:07 - Personal matters.
03:08 - Well, they're not anymore.
03:10 Inés, why did you go to Madrid, Cabaret?
03:13 - I went to wish him good luck with his new girlfriend.
03:19 - His new girlfriend?
03:21 And who is she?
03:23 - I don't know.
03:25 - Of course you do.
03:27 Inés, either you tell me who his new girlfriend is,
03:31 or I'll have to ask your sister Laurita.
03:34 What? Do I pay her a visit?
03:36 - She's...
03:38 She's a neighbor.
03:39 She lives in Emilio's corral.
03:41 I don't know anything else.
03:42 - Yeah.
03:43 You don't know anything else.
03:45 But if you find out something, you'll tell me, right?
03:49 - But why are you looking for Emilio?
03:52 - I ask those questions.
03:54 You just let me know if you find out.
03:56 - I will.
03:59 And now,
04:00 go, please.
04:02 - Don't be in such a hurry.
04:04 This matter concerns you more than you think.
04:07 - No.
04:08 No, I don't want you to get me in your thoughts.
04:10 - You're so involved, pretty.
04:13 Or what do you think?
04:14 That you left my side because you wanted to?
04:16 By your own will?
04:18 Emilio and I had a deal.
04:22 He helped me with a business and I left you alone.
04:25 But the very bastard has played it.
04:27 So now you're the one who pays the consequences.
04:30 Inés,
04:32 either I find Emilio,
04:34 or you come back to me.
04:35 Either the deal is fulfilled,
04:37 or nothing is fulfilled.
04:39 - I'm not going back with you, Bernabé.
04:41 And now, go away.
04:43 I'm not any merchandise you can negotiate with.
04:47 [sniffles]
04:50 [sighs]
04:52 [music]
05:20 - Are you okay?
05:22 You're pale as a skunk.
05:24 - I've been up all night, Antonia.
05:26 - You don't have to swear I've heard you get up 20 times.
05:29 - Antonia, I don't want to go to the police station.
05:33 I've thought about it and I don't want to.
05:35 - Honey, we've already talked about it.
05:37 Whoever has nothing to hide, no one has to fear.
05:40 - Well, that's not true, Antonia.
05:43 Yes, I have nothing to hide, but I have a lot to fear.
05:46 - Well, you shouldn't, honey.
05:47 If you tell the police how you told me,
05:49 they're going to believe you, just like me.
05:51 Besides, it all points to Don Cecilio.
05:53 They're going to find out too.
05:55 - I don't think that's going to happen.
05:57 - Honey, everything's going to be fine.
05:58 With the truth ahead, everything's going to be fine.
06:01 - No, Antonia.
06:02 No matter how much I tell the police the truth,
06:04 they're going to end up thinking what happened yesterday.
06:06 That I was the one who killed my uncle.
06:08 - Honey, I've already apologized for that.
06:10 - No, Antonia.
06:11 If I don't tell you, I'm putting it in your face.
06:13 I'm telling you because if you, with what you want from me,
06:15 came to doubt me, how are they not going to do it?
06:18 Besides, if they don't stop me at the moment for the murderer,
06:20 they'll end up suspecting that it could have been me.
06:22 - But they'll investigate it and they'll see that it wasn't you.
06:25 - Antonia, remember the woman who saw me with her hands stained with blood.
06:29 Besides, my uncle asked me for money.
06:31 And knowing him, I'm sure he already knows that in the middle of Madrid.
06:34 The police are going to be very easy to blame me.
06:38 - Inés.
06:43 I have to tell you something.
06:46 After thinking about it a lot and everything you told me,
06:50 I have decided to accept the job offer from Seville.
06:53 - I'm glad.
06:58 You can't miss this opportunity they've given you.
07:01 - Yes.
07:03 Well, and that you've given me too.
07:05 Now I'll have to talk to the guy and tell him the situation.
07:09 - Well, with the bad mood he's been in lately,
07:11 I hope he doesn't take it the wrong way.
07:13 - Me neither.
07:14 Today I'll have to tell him that I've accepted the offer and that I'm leaving in a few days.
07:18 - Well.
07:20 I'm sure he understands and is very happy for you.
07:26 - Yes, although, as you said, he's been in a very strange mood these days,
07:30 so don't get my hopes up.
07:32 Inés.
07:40 With the bad mood you've given me to accept the offer,
07:43 are you happy with the right thing or rather with little?
07:46 - Well, it's not official yet.
07:49 You talk to the guy first and when it's final, I'll throw you a party.
07:53 - Inés, don't fool me.
07:56 Is something wrong with you?
07:57 When I got here last night, you were already acting strange.
08:00 What's going on?
08:01 - Here.
08:12 - Fuck.
08:13 - It's okay, honey.
08:17 We won't go to the police for now.
08:19 - Thank you very much, Antonia.
08:21 - Although I don't know if we do it right, really.
08:24 But what we can't do is stay with our arms crossed.
08:27 We have to find Don Cecilio to clear all this up.
08:30 And you have to know where to look, because I haven't found the card in the workshop.
08:35 - That man is not coming back.
08:37 - You have to make an effort to remember, Berta.
08:39 - Berta, any name, any address, any detail we can get from him?
08:43 - I don't remember anything, Antonia.
08:45 We didn't talk much.
08:48 And I didn't pay much attention to him, really.
08:52 Although now that you mention it, I remember that the first time he came to the workshop,
08:57 he said he came from Pablo's workshop.
08:59 - Ah.
09:01 Well, I'll get in touch in case you can give us any references.
09:05 - But the workshop is closed.
09:08 - Well, I'll ask anyway.
09:11 In case you can tell us something.
09:13 - I hope so, Antonia.
09:15 I hope so.
09:17 - Yesterday I had a little disappointment.
09:24 - I knew something was wrong with you.
09:26 - I went to Madrid Cabaret because I wanted to talk to Emilio,
09:31 but the establishment was closed to the public.
09:34 - Well, with what happened at Inigo's wedding, it's normal.
09:37 By the way, do you know anything about him?
09:39 - He's still in the hospital.
09:42 - Poor thing.
09:44 Inigo is a great person.
09:46 - Inés, I don't doubt that your concern for Inigo is sincere, but ...
09:52 I see you very worried.
09:54 Is something else wrong with you?
09:56 - Yes, it's about Emilio.
09:59 - About Emilio? I thought we had overcome that stage.
10:03 - It's just that yesterday I met one of the waiters and he told me that Emilio no longer works there.
10:09 - It's strange that he likes that job.
10:12 - Yeah.
10:13 Well, apparently he called to notify his resignation and ...
10:17 Nobody knows why he did it, or where he is, or anything.
10:20 - Well, one person can't disappear overnight.
10:24 So I'm sure you'll have news soon.
10:27 - Yes, you're right.
10:30 [Music]
10:33 - Don Germán, thank you very much for coming. My mother would have liked to see you here.
10:54 [Music]
10:57 - Matilde, I don't think I can stand this much longer.
11:09 I just can't stand it.
11:11 I just feel like crying.
11:14 - Luisa, hold on a little longer.
11:17 Do it for Clarita.
11:19 Look at her, poor thing.
11:21 [Music]
11:24 - Doctor Mir.
11:33 - I'm very sorry, Matilde. My deepest condolences.
11:36 - You didn't have to bother, thank you very much.
11:38 - Of course I did.
11:40 I need to convey to you, on my behalf and to all the employees of La Moderna,
11:45 the great pain we feel.
11:48 I didn't know your mother, but if she raised a woman like you,
11:53 she had to be an exceptional person.
11:57 - She was, Don Fermín.
11:59 She was.
12:00 She is my sister Luisa.
12:02 - My deepest condolences, young man. I accompany you in your feelings.
12:06 - And there is my little sister Clarita.
12:09 [Music]
12:13 [Music]
12:16 - I'm very sorry, Clarita.
12:22 You'll see.
12:25 I know how hard it is to lose a loved one.
12:31 My mother also died when I was about your age.
12:37 And it's going to hurt so much, always.
12:42 - No, honey, no, no.
12:44 Little by little, everything calms down.
12:47 And that pain becomes something else.
12:51 You'll see.
12:53 Every time I remember my mother, it hurts me.
12:58 But it's much more than all the love I felt for her.
13:02 Did you love your mother?
13:04 - A lot.
13:05 - Well, not the pain.
13:07 But that love.
13:09 That love will last forever.
13:12 You'll see.
13:14 - I know now ... I know now it seems impossible, but ...
13:26 this terrible pain will pass.
13:31 And they will become memories.
13:33 And I'm sure that all the memories you have of your mother
13:38 are the most beautiful.
13:41 - Thank you, Don Fermín, for the words.
13:45 - Well, no, no. I don't want to take your attention away.
13:49 You have many visits to attend.
13:54 - Thank you.
13:56 - You shouldn't skip much for Matilde's mother's funeral.
14:12 Poor woman.
14:14 - And poor Matilde.
14:16 If I can't get an idea, imagine her.
14:20 - Let's hope Íñigo doesn't have the same luck.
14:23 - Oh, Esperanza, please.
14:26 Don't be a whore.
14:27 If she makes me feel like a chicken, just thinking that she's going to lose Íñigo too.
14:31 What was missing?
14:34 - What situation did this poor girl find herself in?
14:37 Without eating or drinking.
14:39 And on her wedding day.
14:40 Oh, Trini.
14:41 She doesn't know how scared we all were.
14:43 - I can imagine.
14:45 I thought that on such a sad day I wouldn't feel like talking.
14:49 But you always surprise me.
14:51 - Well, I don't know if you know, but talking is the best way to overcome this kind of trance.
14:55 The priest of my town said it.
14:57 - Come on, Esperanza, take advantage now that Don Fermín is not here to give a review to his office.
15:01 - But I have the cleanest office than a operating room.
15:04 And all for what?
15:05 If no client comes in there.
15:07 - Come on, come on.
15:09 - And you too, Trinidad.
15:18 - I'm going to the bathroom.
15:20 - What's up?
15:26 - I'd like to talk to you.
15:31 - Well, does everyone want to talk today or what?
15:34 - Well, actually, what I wanted to offer was to listen to you.
15:38 In case you need to talk to someone.
15:41 - Listen to me?
15:43 To Santo what?
15:44 - Well, I don't know, sometimes people need to vent or find a shoulder to cry on.
15:50 - What's up? That the person who needs to vent is me?
15:53 - Well, if you're asking yourself.
15:56 - And I should vent with you? Is that it?
15:59 - Well, it's just that, Teresa, you and I have become friends.
16:05 - And who told you that I want to cry and vent?
16:13 - Well, it's just a saying.
16:15 - Well, no, Trini, no, I don't feel like crying.
16:18 Not a single tear.
16:20 - Well.
16:23 - Oh, Trini, wait.
16:29 Mario is a bastard.
16:34 He's a bastard.
16:36 And all he does is make me angry.
16:39 Really, anger and pain.
16:42 I haven't slept an hour in a row since he came back.
16:46 - I can imagine.
16:47 - Well, no, Trini, you can't imagine it because it hasn't happened to you.
16:51 He practically left me on the altar.
16:54 And the worst part wasn't that.
16:56 The worst part were the rumors and the loneliness he left me in.
17:00 And now he has the audacity to show up here as if nothing had happened.
17:05 - That's having a lot of audacity.
17:08 - Well, yes.
17:10 And it hurts me a lot.
17:13 It's just, Trini, I don't understand what he wants from me.
17:15 What does he want?
17:16 Mrs. Teresa, it's just that sometimes men are disgusting.
17:20 Yes, sometimes I think it's better to be alone.
17:24 Alone.
17:26 I don't know, Trini.
17:28 Thanks for asking.
17:33 And thanks for listening to me too.
17:37 Whenever you want. I'm here.
17:40 Come on.
17:42 Let's go to work.
17:44 Luisa, can you do something for a second?
17:56 I'm going to talk to Mr. Fermin.
17:57 - Sure.
18:05 Mr. Fermin.
18:07 I wanted to thank you again for making the effort to come here.
18:12 No, no effort.
18:14 What I regret is not having appeared before in the report, but ...
18:18 some personal matters prevented me from doing so.
18:21 I'm sorry, from the bottom of my heart.
18:23 Don't do it.
18:24 The words I told Clarita were what she needed.
18:29 What we all needed.
18:32 Matilde, I couldn't meet your mother, but ...
18:36 her death has left a great impression on me.
18:40 Sometimes life is unfair and cruel.
18:46 It is, Mr. Fermin.
18:48 I can't conceive of any heartless people capable of such barbarity.
18:53 No matter how hard I try, I can't understand it.
18:57 But the police will have their suspicions.
19:00 Your mother, the state of Íñigo, this cannot be casual.
19:04 Agents have been interrogating us, but they seem as disconcerted as we are.
19:10 Your mother didn't deserve to die like that.
19:14 Not even Íñigo is how he is.
19:17 My mother didn't deserve to die.
19:20 Period.
19:22 She was a good woman, loving, and everyone respected her, Mr. Fermin.
19:28 And as for Íñigo ...
19:30 Íñigo is a strong young man.
19:32 He will save her life, you'll see.
19:34 And sooner or later he will be recovered.
19:38 Matilde, that strength that has always admired in you,
19:43 it is now when you have to take it out.
19:48 For your sisters.
19:52 [Music]
19:58 The time has come.
20:00 If you don't mind, we'd like to be alone.
20:03 My sisters and I want to say goodbye to our mother.
20:07 [Music]
20:21 If you don't mind.
20:24 [Music]
20:53 [Music]
21:19 Good morning, Mr. Fermin.
21:20 Good morning, Pietro.
21:21 Sorry to bother you.
21:23 I wanted to ask you, I know you've been at Matilde's mother's funeral.
21:27 Yes, yes, indeed, that's where I come from.
21:30 I thought my presence was necessary.
21:32 Somehow I represent all the employees of La Moderna and Matilde.
21:37 Matilde had to know that we all carry her in our thoughts.
21:41 A very kind gesture on your part, Mr. Fermin.
21:43 Thank you.
21:44 And how did it go?
21:47 It was a simple ceremony, Pietro.
21:50 There weren't many people, but there was a lot of sadness.
21:55 Poor girls.
21:57 It's hard not to get emotional when you see how Matilde and her sisters are.
22:02 Yes, especially little Clarita.
22:04 That girl has to face a great pain and now she has no choice but to pray for her mother.
22:10 Something we should also do for Íñigo Peñalver.
22:14 You're right.
22:16 And how is Mr. Peñalver?
22:18 I think I can understand that the situation is desperate.
22:22 How is life, huh, Pietro?
22:25 On the day of his wedding, a day that had to be a celebration and a party ...
22:31 That becomes a tragic bloodbath.
22:36 I don't understand what could have been the murderer's mobile phone.
22:40 I don't know, Mr. Fermin.
22:43 All I know is that that man is still out there camping in his fields and no one finds him.
22:49 Because the most logical thing would be to think that the objective of that criminal was Íñigo, although I don't know why.
22:54 And that Rosario's death was a sad accident.
23:00 Poor family.
23:02 I can't get my head out of the discomfort of that girl.
23:08 Good morning, Mr. Fermin.
23:10 Good morning, Mr. Fermin.
23:13 What are you doing here, Aguirre?
23:21 I was looking for you because I didn't want that matter between you and me to get any longer.
23:27 I don't remember us having any more business between you and me.
23:31 I thought everything was settled.
23:33 Everything? No.
23:35 And I give you the money you stole from me.
23:40 I already told you, Mr. Fermin.
23:42 They were the ones I thought were my friends.
23:45 But I assure you that I have already cut off all contact with them and that I will never see them again.
23:49 Never again.
23:50 Not even me or you. That's clear to you.
23:53 Don't take it that way, Mr. Fermin.
23:55 I hope this helps you forget what happened in the last game you and I had.
24:02 I thank you for the gesture and now I ask you not to.
24:05 I ask you not to.
24:06 I demand you to leave.
24:09 I reiterate that I don't want to know anything else about you.
24:12 I'm done with the game.
24:14 There will be no more games.
24:17 You will know what you are doing.
24:19 And after this matter, I just have to go.
24:24 Have a good day, Mr. Fermin.
24:27 Have a good day, Mr. Fermin.
24:30 How beautiful is Inigo's apartment.
24:55 It must be comfortable to live in a place like this.
25:00 Thank you for coming with me.
25:03 The idea of coming alone terrified me.
25:06 Have a glass of water.
25:08 We've had a very long morning.
25:12 [Inigo sighs]
25:17 [Inigo sighs]
25:26 I'm sorry. I'm sorry.
25:31 I was thinking about my mother.
25:34 And suddenly I realized that she's not here anymore.
25:39 I know.
25:41 It happens to me too.
25:46 And we'll take a long time to get used to it.
25:54 I had always thought about saving money
25:57 to be able to buy a house like this, comfortable and beautiful, mother.
26:01 And now...
26:05 Mother would have liked the ceremony we've done.
26:10 Intimate and emotional, as she liked it.
26:15 How she would have grinned if she saw us both here crying for her.
26:23 I don't know about you, but...
26:26 I'm pleased that father and mother are together forever.
26:31 For all eternity, Matilde.
26:36 [Inigo sighs]
26:40 Now we have to be strong.
26:42 We have to look forward and get used to living without her.
26:48 We have to do it for ourselves, but above all for Pablo.
26:54 And for Clarita.
27:00 Don't you think it's possible?
27:06 We have no choice, sister.
27:10 Every time I think about it, I see it more difficult.
27:14 Because Aunt Concha stayed with Pablo in Jerez until she gets better.
27:22 And grandma...
27:25 What's going to happen to grandma now, Matilde?
27:28 She's just going to ask for help.
27:31 It's going to be a huge financial effort, but we have no other option.
27:36 But grandma knows, right?
27:39 What mother?
27:42 No.
27:47 No, she doesn't know.
27:50 Aunt didn't want to tell you because she doesn't dare.
27:53 Because she's afraid something worse will happen to her.
27:57 Oh my god, poor thing.
28:00 Let's get dressed.
28:06 Come on, Inigo.
28:11 Hey, how's the hospital?
28:14 Sorry I didn't go with you, but after the funeral I didn't have my body.
28:19 Don't worry.
28:21 I'd rather be alone there.
28:24 Inigo doesn't care.
28:26 And what he doesn't care about is the doctor's expenses.
28:30 We'll need a fortune to pay the surgery and the doctor.
28:35 But how much can it cost to extract a bullet, Matilde?
28:40 The surgery itself is complicated.
28:43 And besides the expenses of bringing Dr. Aramburo and his team to Madrid,
28:49 we have to add the expenses of moving his medical equipment.
28:52 And that puts us at an exorbitant cost.
28:56 And I don't know where I'm going to get the money to pay for all this.
29:00 I don't know.
29:02 Don't worry, Matilde.
29:04 That's why we came here, to Inigo's apartment.
29:06 Maybe he has some money saved up here, right?
29:09 Yeah, but I don't know if it's a good idea.
29:11 Yes, it is. Of course it is. And Inigo will think the same.
29:15 Come on, tell me where to start looking.
29:18 You look in the bedroom and I'll go with that man.
29:22 Good afternoon. I'm talking to the owner of the mechanical workshop.
29:31 Yes, I know it's closed.
29:34 Well, the owner of the store next door called me.
29:38 I'll be very quick. I wanted to ask about a client of yours.
29:41 It's an urgent family matter.
29:44 Yes, Don Cecilio García.
29:47 No?
29:48 Well, I know I've worked with oil companies.
29:51 A man with a tan, with a beard. Does it ring a bell?
29:56 Yes, I see. He doesn't remember anything.
30:01 Maybe if he...
30:03 May I know what he's doing?
30:05 I'll call you back. Thank you.
30:08 Who gave you permission to call during working hours?
30:11 No, you're wrong. I've finished my work day.
30:14 Yes, but that's no reason to make personal calls from this phone.
30:19 Well, I was calling a store I made an order from. I wanted to know if I could pick it up.
30:25 Look, Antonia, I think it's very good that you're a foreman.
30:28 But you should have asked me or Don Fermín for permission. Have you done it?
30:31 No.
30:32 Well, then, what are you thinking?
30:35 I thought...
30:36 I thought and I thought you were friends with Tontique.
30:39 Since when do you dare to do this kind of nonsense?
30:43 Well, since I don't see you around here...
30:46 Well, if you don't have my permission, you can't call. Come on, it's very easy to understand.
30:51 It's been a very short call and I'm going to pay you.
30:54 Of course you have to pay me.
30:56 But this is not a question of money, it's a question of setting an example.
30:59 And you, who are a veteran, must do it.
31:02 I don't know why you're taking this kind of liberties now.
31:05 I don't take them. It was... It was a mistake.
31:09 Of course it was a mistake.
31:11 And now, if you've finished your day, go home.
31:15 Excuse me.
31:17 We have very hard days ahead of us, sister.
31:35 But we have to be strong.
31:38 I know.
31:41 If only Emilio were here.
31:44 Are you sure you'll meet again?
31:49 I don't think so, Mati.
31:51 In fact, I don't even know why I mentioned him.
31:54 It's normal that you miss him.
32:01 And more in moments like this.
32:07 I try so hard not to think about him, but I can't, Matilde.
32:10 I can't get him.
32:12 Besides, a man came by before asking about him.
32:15 What did he want?
32:17 He told me he was a relative and his name was Bernabe.
32:20 A relative? But I thought Emilio and Raimundo didn't have a family.
32:25 No, they don't.
32:26 That man lied to me.
32:28 What do you mean?
32:31 Bernabe is the smuggler who was in charge of Emilio and his brother's robberies.
32:37 So he might have gotten into a mess.
32:41 I don't know what he did.
32:44 But I think he must have played with Bernabe and...
32:48 And he must have run away with Raimundo.
32:51 Raimundo?
32:53 Yes.
32:54 Yes, that's right.
32:56 Oh my God.
32:57 He'll come for you.
33:01 Listen to me.
33:02 He'll come for you.
33:04 I don't believe it.
33:06 Matilde, I know him.
33:08 And that note he sent me was a final goodbye.
33:12 But that's it.
33:20 Now the important thing is to get the money for the operation.
33:23 What did you find?
33:24 We don't even have this to start with.
33:29 Are you sure there aren't any other places to look?
33:32 No.
33:33 I've looked everywhere I could find Iñigo keeping money.
33:37 In places you couldn't find either?
33:40 It's useless to keep moving the apartment, Luisa.
33:47 But we have to do something, right?
33:55 Maybe I can ask someone for financial help.
33:58 At the publishing house, maybe.
34:00 No, no.
34:01 Maybe we should go straight to the bank and tell the director about my situation.
34:06 Maybe he'll have mercy on me and give me a loan.
34:09 Well, that would be the fastest thing.
34:12 But do you think it's possible?
34:14 I don't know.
34:15 It's very complicated because I still don't have a legal relationship with Iñigo.
34:21 And even if you did, women don't have access to bank accounts.
34:25 I don't know.
34:27 Maybe the director will accept the request if he thinks Iñigo is the one who does it.
34:31 But for that we depend on the goodwill of the director and his common sense.
34:36 Well, we don't have much time to lose, Matilde.
34:40 Let's go now.
34:41 I'll go with you.
34:42 No, no, no.
34:43 I'd rather you go home.
34:45 I don't want to strain your eyesight.
34:46 We don't need you to have a relapse.
34:49 You're right.
34:51 Let's go.
34:54 I have to go to the bank and I can't lose another minute.
34:57 Yes, it's me again, Carla de Morcuende.
35:16 I wanted to ask you about the state of Iñigo Peñalver's condition.
35:19 I understand.
35:28 It hasn't improved.
35:30 Thank you.
35:34 I understand that you've come to explain to me what all this means.
35:42 And I hope that explanation justifies the rudeness with which you enter my office.
35:46 Open the folder and you can find out for yourself.
35:50 A police act?
35:58 Yes, about a police act at a pension in Madrid.
36:02 And why should I be interested in all this?
36:05 Apparently, they've found a man with a bullet in his head.
36:08 It seems that a certain "vestero" has committed suicide.
36:11 Does it ring a bell?
36:12 The useless one who almost killed Iñigo.
36:14 Curiously, they've found several anarchist and anti-clerical documents.
36:21 Everything very timely.
36:27 Yes, they've also found a note next to his body.
36:31 In which "vestero" confesses that he carried out a terrorist act at random
36:37 while entering the first church he found, where a wedding was being held.
36:42 What's really tragic is that "vestero" wasn't able to do his job properly.
36:48 Luckily, that note explains everything that happened
36:51 and erases any suspicion that he's aiming at us.
36:54 I understand.
36:56 He died, the only witness who could blame us dies.
37:02 Everything that appears in this document will be published by the newspapers tomorrow.
37:07 As I see, I also know how to do things right.
37:10 Well, looking for hitmen has room for improvement.
37:15 And you, don't you have anything to tell me?
37:19 Tell you what?
37:21 The truth. Be honest with me.
37:26 Honest?
37:29 I demand that you tell me any secret you have against me.
37:33 Whether it's recent or not.
37:35 Sir, excuse me.
37:49 Yes?
37:50 I'd like to speak to the in-charge. Could you give me a heads up, please?
37:53 The in-charge? Does she have any complaints about my service?
37:57 Something that could have bothered her?
37:59 I just want to speak to her. If you're so kind.
38:01 I can't be so kind. I mean...
38:05 Well, if that's the case, maybe I do have a complaint about your service.
38:10 More reason to let the in-charge know.
38:12 No, no, no. I'm sorry for the misunderstanding.
38:14 What I meant to say is that I can't be so kind to let the in-charge know
38:17 because she's not in the room right now.
38:19 She's gone out to do some management and I don't know when she'll be back.
38:22 Well, I'm not in a hurry.
38:24 I insist, if you've felt unwell or if you need anything from me, ask me.
38:28 Because I'm very kind.
38:31 Don't worry. It's something that only the in-charge can solve.
38:35 Good afternoon. Is something wrong, Elias?
38:37 Something I can help with?
38:39 I think I understand that the client has some complaints she wants to make.
38:44 Here's the gentleman who's interested in speaking to Mrs. Teresa, Mr. Fermin.
38:47 And what's the problem?
38:48 There's really no problem.
38:49 It's just that the in-charge has gone out and isn't in the room.
38:52 And I haven't been able to tell her that I'd like her, but I haven't been able to.
38:56 I would have liked to be really kind, but she's not.
38:59 I'm being kind, Mr. Fermin.
39:00 Elias, I'll take care of this myself.
39:05 Gentleman, let me introduce myself. I'm Don Fermin Villanueva, the owner of this establishment.
39:10 I've been told to ask about the in-charge. Maybe I can help myself.
39:13 Do you have any complaints? Something that you don't like?
39:16 Excuse me, Mr. Fermin, let me question you.
39:19 Here in La Moderna, there's nothing that doesn't please the clients.
39:22 Here, the gentleman has been served by a model and exemplary waiter.
39:25 I would say, above all, a kind one. Someone like me, Elias Tejada.
39:28 A diligent person, to serve you and whoever is needed.
39:32 Elias, let the gentleman explain himself.
39:34 Do you think so?
39:35 Well, your waiter is right. I have no complaints.
39:40 Your service is exemplary.
39:42 You see, Don Fermin? Exemplary and kind.
39:46 I don't want to cause any trouble. I just want to talk to the in-charge.
39:49 It has nothing to do with being badly served. Quite the opposite.
39:53 Quite the opposite, you see, Don Fermin? Quite the opposite.
39:57 Well, I'm sorry to tell you that the in-charge is not here at the moment.
40:01 But I think that was already reported.
40:03 Indeed. Yes, it is evident that if the in-charge is not here, I cannot talk to her.
40:07 If you don't mind, I would like to wait for her here.
40:09 It's a personal matter that doesn't take much delay.
40:12 Ah, well, in that case, of course, I enjoy the room and of course, you are invited.
40:19 Very kind, Don Fermin.
40:20 Have a good afternoon.
40:21 Very kind, sir, Don Fermin, but a very kind gentleman.
40:30 [Music]
40:44 It's been a while since you asked me how my research on Jacobo's whereabouts is going.
40:49 And why should I ask?
40:52 If every time I've done it, you've told me that there was no progress.
40:57 I must assume that if you haven't told me anything, it's because you have nothing to say.
41:00 And you, you don't have anything new to tell either.
41:04 Yes, a good friend of mine is in a hospital bed,
41:08 debating between life and death because of you.
41:11 But it seems that you don't want to be told the things that are wrong.
41:15 However, you want to be praised all day long.
41:17 I'm giving you the opportunity to explain yourself.
41:19 Because if we are going to continue being partners, it's better that we go head-on, the two of us.
41:24 Well, maybe we don't need to go so head-on.
41:26 Do you know why?
41:28 Because I'm rethinking being your partner.
41:31 It's curious because I'm also thinking about whether this partnership is good for me.
41:36 So I'm going to leave it to you to think about what you're doing.
41:42 And above all, about what you've done.
41:46 [Music]
42:01 To Lara Tusson's office, please.
42:04 [Music]
42:11 Ah, Teresa, you're back.
42:13 Yes, sorry for being late, Mr. Fermin, I was busy.
42:17 No, no, I don't want excuses.
42:19 What I want is that you look at the piano table.
42:22 Why? Is there a problem?
42:24 No, no, but there's a client who's been sitting there for a long time.
42:28 And well, he seems to be a very kind gentleman and I've given him the order to be invited to whatever he asks for.
42:33 Very well, I'll take note. You won't miss the bill.
42:36 Do you know the gentleman?
42:38 Well, I don't know, let me see.
42:40 [Music]
42:46 No, Mr. Fermin, I haven't seen him in my life. I don't know who you are.
42:50 How strange, because it has given me the feeling that he did know you.
42:54 Well, anyway, he has always insisted, very kind, that he wouldn't leave until he talked to you.
42:59 So please, take care of him, because if he can't be there sitting for centuries and centuries.
43:05 Very well.
43:07 [Music]
43:17 How many times do I have to tell you that I want you to disappear?
43:20 Let me talk to you and you will never see me again.
43:24 I don't want to talk to you, and less to see you around here in the living room.
43:28 Teresa, you and I owe each other a conversation and a very long one.
43:32 No, I don't want to know anything about you.
43:35 Fine.
43:37 Fine, I'll be patient and wait for you as long as it takes.
43:43 Have you thought about staying a long time?
43:48 Well, if I get a job, forever.
43:53 So the job hunt was true.
43:58 Well, I assure you that you will not find it sitting here.
44:02 Seeing you and talking to you is the most important thing for me now.
44:07 Well, you should prioritize the job hunt, because even if Don Fermín has invited you to a coffee,
44:11 not only coffee does the man live.
44:13 Look, there are some bakeries in Fuencarral that are looking for employees.
44:16 In Fuencarral?
44:17 Yes.
44:18 But if that's on the other side of the city?
44:21 Do you think the job will go to your door to get you?
44:25 The further from here, the better.
44:28 Fine. Fine, I'll go ask the bakeries in Fuencarral to see what they say.
44:33 But Teresa, sooner or later, you and I have to talk.
44:37 It won't be here or now.
44:41 [Music]
44:47 Pietro.
45:05 How are the sisters? Are they going around the house?
45:09 No. Matilde went to the hospital after the funeral and ...
45:14 and Luisa just spent a while at home.
45:18 Let's hope that at least Íñigo gets out of this.
45:22 Well, I don't know what to tell him because ...
45:25 from what I've seen, he's not doing very well.
45:27 Oh, Pietro, what bad times are you having to live.
45:30 And the little one? Is she with Matilda?
45:32 No, no, no. She went to her friend Susana's house.
45:36 She's much more entertained with someone her age.
45:39 We're going to miss Rosario a lot.
45:43 And what did I say?
45:46 That house was so full of life and now ...
45:50 it's just a shame, Pietro.
45:52 I don't understand why such good people have to go through all this, Antonia.
45:57 Living the death of a mother like that ...
45:59 you don't recover from that, huh?
46:02 And it gives you courage to be able to help her more.
46:06 You don't know what to tell them.
46:09 I don't think you have to tell them much either.
46:12 As long as they notice our affection and that we are there for what they need, it's enough.
46:19 I'll leave you. I have homework.
46:23 [Music]
46:46 What's up? Aren't you glad to see me?
46:49 Me too.
46:51 Hey, woman. We're friends. Don't take jokes so seriously.
46:55 Don't put a scene in front of everyone here.
46:57 Are you following me now too?
46:59 No, I don't need to. Because I have you under control, as you can see.
47:04 I was talking to a good friend of yours.
47:07 Luisa. The girl who took Emilio from you.
47:10 I thought you would like to know.
47:12 No, I'm not interested in anything you do, Bernadette.
47:15 Yeah, but maybe you are interested in knowing things about Emilio.
47:19 I have bad news. He's still hiding.
47:22 It's as if he had swallowed the earth.
47:25 Not even his supposed girlfriend knows where he is.
47:27 Then don't waste more time looking for him and leave him alone.
47:30 No, not at all. I never give up.
47:33 I'll go with Emilio sooner or later.
47:35 Well, good luck. Goodbye.
47:37 Wait, don't be in such a hurry.
47:40 Smile, woman.
47:43 Don't let people think you're afraid of me. Smile.
47:46 Let me go, Bernadette. Please.
47:48 You know what I'm going to do first when I find Emilio?
47:51 I'm going to point out how wrong he is.
47:54 It's not that his girlfriend is not pretty, it's that you are much more.
47:58 At least for me, that's what matters.
48:01 Don't touch me. Don't touch me.
48:03 I think it's time to renew our relationship, don't you think?
48:07 I hope you like it.
48:09 And if you don't like it, worse for you.
48:12 Because we're going to take it back anyway.
48:14 I don't want to know anything about you, Bernadette.
48:16 We'll discuss it later when I come to get you.
48:19 How about we go out tonight?
48:21 Like old times. We had a good time, didn't we?
48:24 Not anymore.
48:26 Look, Inés, no woman tells me no.
48:29 We're going to go out for good or bad.
48:33 It works the same for me both ways.
48:35 Inés, you around here?
48:37 Good afternoon, uncle.
48:41 I don't want to interrupt.
48:43 No, don't.
48:44 I was talking to an old friend, but he's leaving.
48:49 See you soon, Inés.
48:51 Sir.
48:55 Deposit?
48:57 I was on my way home.
48:58 Perfect. Me too.
48:59 Shall we go together?
49:00 Yes, let's go.
49:03 [music]
49:14 [dog barking]
49:39 Can you tell me what you're doing?
49:46 Antonia, I'm leaving.
49:48 Forever.
49:50 What?
50:01 Inigo.
50:04 Inigo, please.
50:06 I need you to get better.
50:10 Do it for me.
50:12 I love you so much.
50:16 I need you to get better, please.
50:20 I came as soon as I could.
50:22 I know it's not the time to call her, but it's something urgent.
50:26 It's gotten worse.
50:29 Dr. Baristeba says Inigo's life is going to be over soon.
50:34 I can't let it happen.
50:36 I can't stand it.
50:39 Ma'am, many years ago I lost my father because the medical aid didn't come to the city.
50:46 Please, Matilde, don't tell stories.
50:48 Let me talk.
50:50 I have to ask you something.
50:54 I've tried to raise the money, but I haven't succeeded.
51:00 I need you to help me bring Dr. Aramburu.
51:10 I shouldn't have come here after running away from Don Cecilio's house.
51:14 Of course, Marta.
51:15 No, Antonia. If I stay here with you, I'll make you my accomplice.
51:18 Accomplice of what, honey?
51:20 Of my uncle's death.
51:21 But you haven't done anything, Marta.
51:22 Yeah, but you and I know that.
51:24 What did you think?
51:25 That I was going to let Inigo die because of you?
51:27 Because of your whims of a spoiled brat?
51:29 I'll find a way to get rid of Bernabe without going to the police.
51:32 This man has approached you twice in two days.
51:35 One at home and one on the street.
51:36 What's next?
51:37 If we report him now, it will be worse.
51:39 Because he could get even more angry.
51:41 That's why we have to anticipate that he gets like this.
51:43 You know what I feel?
51:44 Like I don't have the right to be happy.
51:46 Like whatever I do, I'm being chased by pain and sadness.
51:50 Don't say this. This isn't true, Mrs. Teresa.
51:52 If not, how do you explain that just when I start to open up to Cañete and I start to trust him,
51:57 Mario shows up again?
51:59 What do I do now, Trini?
52:01 We have to be honest, one with the other.
52:03 I've been offered a job.
52:05 I'm starting to see that Emilio left me signs that I couldn't see.
52:09 What do you mean?
52:10 Well, when I came back from Barcelona, he took a long time to come see me.
52:13 And the last few days he was avoiding me and giving me long.
52:17 Is that why you think he left with Raimundo?
52:19 I think that somehow he felt that he had to choose between his brother and me.
52:24 And he chose Raimundo.
52:27 If I've reached your door, I can go anywhere.
52:30 You'd better be reasonable and obey me.
52:32 Otherwise, you'll have to face the consequences and you know I'm not joking.
52:36 Due to the severity of the wound and that he has lost a lot of blood, we have to do an urgent transfusion.
52:41 Count on me.
52:43 What is his blood type?
52:45 I don't know.
52:46 Then we would have to do some tests to find out and time is running against us.
52:50 I know mine. I'm zero. And therefore I am a universal donor.
52:55 Then there's no time to lose.
52:56 It will be an honor for me that Íñigo carries my blood in his veins.
53:00 There are witnesses who assure that this man pointed at me, that his gun pointed at me.
53:05 You have no proof against me and you will never have it.
53:09 And I'll tell you one thing, Matilde.
53:11 I love Íñigo and I will always love him, whether you are there or not.
53:18 I offered to spend a night with you if you killed Matilde.
53:22 However, that girl is alive and kicking.
53:25 I will never be with you. Do you understand? Never.
53:29 Let it be known that you are the one who forces me to do what I am going to do.
53:34 (dramatic music)
53:36 (dramatic music)