Salón de té La Moderna - Ep 187

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Salón de té La Moderna - Ep 187
Döküm
00:00I'm so glad to rest my feet once in a while.
00:03Feet and ears.
00:05I don't see the obsession that has entered you now, Elias, with the cards.
00:08There is no time that I did not take the opportunity to mend them.
00:12By the way, are you going to the demonstration?
00:15No. No, no, no.
00:17No, because the little time I have free, I have to organize everything about the wedding.
00:21No matter how much I do, it never ends.
00:23Between the invitation, the flowers, the invitations...
00:26Well, I have the afternoon off. If you need help...
00:29No, darling, thank you.
00:31Enough already that you've been fixing my dress.
00:33By the way, I got up this morning and it was already fixed, as you have done.
00:37I stay until late fixing it.
00:39You know that as I start sewing, I don't stop.
00:42Thank you very much. It was perfect.
00:46Let's see what Pietro thinks when he sees it.
00:48Antonia.
00:49What?
00:50Don't tell me that you haven't told Pietro yet that he is going to marry the same dress of his first wedding.
00:54Well, no. I couldn't. I was going to do it, I promise.
00:56But the issue of the bakery came up. And what do you want me to tell you?
00:59That does take away my sleep.
01:01I'm not surprised that he doesn't sleep.
01:03He is going to leave both of them his place in the modern to open his own business.
01:08I don't know.
01:09I don't know.
01:10I don't know.
01:11I don't know.
01:12I don't know.
01:13I don't know.
01:14I don't know.
01:15I don't know.
01:16I don't know.
01:17It's non-business.
01:19What?
01:20That Pietro is going to leave Moderna too?
01:23Don't open it!
01:26And about this issue, please keep your mouth shut.
01:28Yes, I'll keep my mouth shut and with the key.
01:30I'll keep the secret but please don't split it open like that.
01:34And what is it with Pietro leaving Moderna and doing that for you?
01:36How could I ask you that?
01:38Look at how difficult it is to get placed today.
01:41No, I'm just telling you because of that.
01:42No, Pietro doesn't want us to get married so we don't see each other.
01:45He wants to find a job where we can be together.
01:49How romantic.
01:51And has he talked to Don Fermín?
01:52Because I don't think he'd be very happy to lose the star baker of La Moderna.
01:57Well, no, not yet.
01:59That's what worries me so much.
02:00I feel like I'm lying to him.
02:03But, daughter, the way things are, I haven't found the right moment.
02:06These things can't be said like that, out of the blue.
02:08She doesn't know how I understand her.
02:10What I don't understand is how that rule is still in force.
02:12Yes, until I worked at the stairs, I had colleagues who were married.
02:16Yes, when I got to work here, I also wanted to complain about this rule, remember?
02:21But the other colleagues, who were more veteran,
02:24well, they almost thought it was a good rule.
02:27That it has always been like this, that what is bad for one is bad for all,
02:30that there is no need to change it now.
02:32Ah, the force of habit.
02:33A rule is made, years go by, and then no one asks if it makes sense or not.
02:37It was what she said, no sense at all.
02:40Let's see, it's not that I want to get married now, but...
02:44Trini, for example, if she wanted to get married, why couldn't she?
02:49If she only went to get married.
02:51These days, everything changes, the laws, the governments...
02:54But it seems that the issues that affect women go slower.
02:59And if it changes, I don't know, girl, but...
03:02Maybe we won't see it, huh?
03:04Ah...
03:09I have no proof.
03:10It's just my intuition, but...
03:13I think César is hiding something from me.
03:17But are you sure about that?
03:19I didn't have any complaints so far, I was delighted with him, with his work.
03:22Yes, yes, I have no problem with his management of Madrid-Cabaret.
03:26The thing is that the other day, when I was talking to him, I noticed something disturbing.
03:30And that's not normal, because I shouldn't have done it.
03:33Well, maybe it was because of the incident, the singer...
03:38I understand that you have a sentimental relationship, don't you?
03:41Yes.
03:42We were talking about the opposite, that Inés suffered.
03:46And I noticed it... uncomfortable.
03:49As if he was hiding something.
03:53But you're telling me that you think that César...
03:56No, no, no.
03:57I'm not saying that César is responsible.
04:00What happens is that...
04:01He's usually very frank and direct.
04:04And in that conversation we had, well...
04:07It wasn't him.
04:08I see.
04:10Well, the truth is that I still don't know what favor I can do him with this whole thing.
04:15Because I barely know César.
04:18Well, that's why I need him.
04:20I want him to go to Madrid-Cabaret and observe everything.
04:23And write down...
04:25Everything that sparks his suspicion.
04:28He's asking me to spy on him.
04:29I'm asking him to be my eyes.
04:32Because maybe nothing happens and what's missing is my intuition.
04:36Okay, yes. I'll stop by Madrid-Cabaret from time to time.
04:39I'll have a drink.
04:41I'll enjoy the music, the ambience.
04:43I think I've had worse jobs.
04:46Please.
04:48Open your eyes.
04:50The last thing I need right now is for something strange to happen in my business.
04:53The police have me in their sights and...
04:56That would complicate my life.
05:03Oh, I don't want to see a rag in my life again.
05:06We've been cleaning the store all morning.
05:09Yes, who was going to tell us that a gramophone was going to accumulate so much dust?
05:13Well, it shows that Mario was dedicated to other things.
05:16Because he had the store on his sleeve.
05:18Well, but the important thing is that now we have the genre as we like it.
05:21And that we have our own store.
05:28Hey.
05:30Inés shouldn't be here.
05:32Yes, she's in the hospital.
05:34Doing the treatments prescribed to her.
05:38Laura, I didn't tell you anything, but...
05:41Yesterday, during the signature to the notary,
05:44Mr. Fermin didn't look very serious.
05:46Is he okay?
05:47Yes.
05:48My uncle is like me.
05:49My uncle is like me.
05:51He's happy about the store, but he can't stop thinking about what happened to Inés.
05:56They told us we have to wait for the inflammation to go down to do more tests, but...
06:02But are you afraid of the worst?
06:03Yes.
06:04It seems that the irritation of the throat has caused an edema or something like that, the doctor said.
06:10We don't know very well what the consequences may be.
06:14My goodness, poor Inés.
06:16Just now, when everything was starting to go well,
06:18she was about to sign the contract at the opera house.
06:21I wish it was all that.
06:23But what's going on? Is there more?
06:26Last night, Inés and César broke up.
06:29And since then, Inés has been very discouraged.
06:32But Laura, what are you saying?
06:35Forgive my boldness, but...
06:37Do you know why they broke up?
06:39No.
06:40Inés doesn't want to talk about it and I can't see myself insisting.
06:42Is that enough?
06:43But I don't know, they looked very happy, right?
06:45Like they were going to break up overnight.
06:47And on top of that, in the situation Inés is in, it's not...
06:51Look, I think the same.
06:53I've been turning her around all night and...
06:56Don't say anything.
06:57But Inés sometimes said that in the Madrid-Cabaret,
07:01things happened that she didn't quite understand.
07:05Things? What things?
07:07I don't know, I didn't want to go into details either, but...
07:10People or strange situations that could be related to César.
07:16Are you insinuating?
07:17That maybe César had something to do with Inés' accident?
07:21No, no, no, I don't know.
07:23Saying it out loud sounds crazy.
07:25Laura, listen to me.
07:28I don't see César capable of hurting Inés.
07:31He looked very in love with her, didn't he?
07:33Yes.
07:34Forget what I told you and forget about César.
07:37Now the important thing is to focus on Inés.
07:47CASE CLOSED
07:51Oh, now I feel better.
07:57Rosa, you're determined to get back to work,
07:59but I see you're still hurt.
08:02Hurt?
08:04Young women heal instantly.
08:07Well, I say it in my head.
08:10Because you're cleaning the alley and you used to deny it.
08:13Well, the back-stabbing, but I think the mind too.
08:17The mind should be thrown to someone I know.
08:20Have you seen Cañete?
08:22No, why do you want to see him?
08:24Nothing, because I had to invite him to a demonstration,
08:26but I'll tell you later.
08:28A demonstration of what?
08:30Of girdles.
08:32Of girdles?
08:32Yes.
08:33Ah, but Cañete and you...
08:35Yes, you'll be interested too.
08:37Because they are girdles and corsets, the girdles.
08:40Yes, the most comfortable and apparently the best on the market.
08:43Or so Miguel says.
08:44Miguel too?
08:45Ah, yes, yes, Miguel too, Miguel.
08:47Well, in fact, we're going to do a demonstration this afternoon,
08:50in the bookstore, at lunchtime.
08:52Miguel and I, you're invited.
08:54And why should I be interested in a girdle?
08:57And corsets, girdles and corsets.
08:59Well, go to the bookstore and check it out.
09:02Well, maybe I'll pass.
09:03Because maybe a corset like that, well tightened on the back,
09:07it takes away the pain of a magician to work.
09:09Yes, of course, you too.
09:10Precisely because of that you will be interested.
09:13Well, I'm going to look for Cañete.
09:14That one has to be with Trini.
09:17Yesterday I saw him holding her in his arms.
09:19In his arms?
09:20And I saw them whispering to each other.
09:25If you mean yesterday, Esperanza,
09:28I don't see anything wrong in helping a partner.
09:30Trini tripped and I picked her up in my arms.
09:32Period.
09:33Yes, yes, because you told her that a client left without paying.
09:37Yes, yes, you already told me yesterday.
09:40If you want, I'll repeat it today too.
09:41The truths do not expire.
09:43No need.
09:44Goodbye.
09:49But boss,
09:51has Trini hit you again?
09:53Really?
09:55Start again?
09:56Because nothing happens with Trini, Leñe.
09:58Let's see, but what problem do you have in opening your heart to me?
10:01Even if it's to tell me that you've fallen in love with Trini again,
10:04again, until the guts.
10:05And come on, it's not a matter of love.
10:07Do you want to know what happens with Trini?
10:09Yes, of course, of course.
10:10If I tell you what happens, will you stop being silly at once?
10:13Well, let's see, I can't promise you either, boss, but...
10:16Yes, tell me, tell me.
10:18What's going on?
10:21It's just that he has a lot of imagination, Elias.
10:24And now he comes back inside that we have the whole living room.
10:27Let's see, let's see.
10:29He's in love until the guts.
10:32All day with Trini, mouth to mouth, from now on.
10:34A real torture.
10:36I can't believe it, again.
10:44Ugh.
10:56Oh, I'm sorry, Mr. Fermin.
10:58I'm sorry I didn't let you in.
10:59Yes, well, with all those folders and luggage you're carrying, it's...
11:03Sorry.
11:05Oh my God, oh my God, what a shame.
11:07I'm sorry, Mr. Fermin.
11:08No.
11:10Let's see.
11:12No, no, no, no, no.
11:13Take it off, take it off, take it off, please.
11:14No, no.
11:15Don't worry.
11:16Oh my God.
11:17Don't get upset.
11:18What are you doing in these messes?
11:19I didn't bother you at all, woman.
11:23You're absolutely right.
11:25I don't know why I'm so busy with everything.
11:27I don't even have a place to leave it.
11:28And now, on top of that, the mess of having it here.
11:31Picking up garbage.
11:32No mess.
11:34And you know that it can be installed in any of the rooms on the upper floor.
11:37Choose the one you like best and place your office there.
11:40This office has run out of papers.
11:42Thank you very much, but I can't do my job well in the living room on the upper floor.
11:46You know that I like to have everything under control.
11:48Not to mention, of course, that I prefer to be closer to you.
11:51Maybe you need me, I don't know, to dispatch anything urgent.
11:55Yes, yes, you're right about that.
11:57But I insist that you find a place where you can develop your work in a more comfortable way.
12:03Not with this suit and...
12:05Well, if you insist, maybe...
12:07I don't know, could I settle here?
12:09Here.
12:10Here, in my office, you mean?
12:12Yes, of course.
12:13Well, I understand that your niece Laurita is not going to use it anymore.
12:17Maybe I could occupy your table.
12:19If you think it's okay.
12:21Well...
12:23Laurita will continue with the publicity of the living room.
12:28But the truth is that I no longer occupy the office.
12:33Look, from now on, this will be your desk.
12:38So welcome to my office.
12:41Thank you very much.
12:43Well, I'll leave you, I see you were going out.
12:45Yes, yes, I was going to Mrs. Carla's funeral.
12:47Accompanying her mother is the least I can do in this tragic moment.
12:51It's a great gesture on your part.
12:53By the way, I've thought it over better.
12:58And I'm going to the inauguration of the Plaza de las Ventas.
13:01Really?
13:02Yes, yes, yes.
13:03What good news.
13:05Maybe we'll see each other there in an hour.
13:08Well, let's hope so.
13:09So I wanted to thank you for your words yesterday,
13:12which coincided with everything my nieces told me, encouraging me.
13:17It seems that you know very well human nature.
13:21I would like to.
13:23Well.
13:31By the way.
13:32Yes?
13:34Well, ma'am.
13:37Why don't we go to the square together?
13:40Unless I have another companion, of course.
13:42No, no, no, no, I don't have one.
13:44I would be delighted if it were you.
13:46Well, I'll pick you up in a while, when I come from the funeral.
13:52Can I leave the model in your hands until then?
13:55You don't have to ask.
13:56You know I do.
13:57I'm the manager.
13:59Thank you.
14:04Thank you.
14:30Yes, you will be a traitor.
14:32I don't know why I bother to educate you.
14:35Commandment 9.
14:37Cleaning the plates and steel covers is none of your business, but of the waiter.
14:41So?
14:42Fernanda, I don't like it at all.
14:44Let's see.
14:45No water for the enemy.
14:47Get away from those covers.
14:49Manolo, I'll put the coffees on table 3.
14:53And you, you should be ashamed.
14:56Stealing staff from other departments.
14:59What are you talking about, ma'am?
15:00You're the one stealing here.
15:01You're taking my place to put the coffees.
15:03Do you think you can abuse the newbies?
15:05But me, I'm already well fed.
15:07Esperanza, nobody is abusing me.
15:09That's what they make you believe.
15:11They tell you that one day you do them a favor, another day they do it to you.
15:14But have you ever seen Cañete with the broom in his hand?
15:17I really want to have one right now to see if you've thrown it out of here.
15:20Can't you see you don't leave me space for the coffees?
15:22Wait a minute.
15:23Esperanza, Cañete hasn't asked me to do anything.
15:25It's been my thing.
15:26But look how the waiters are there.
15:29Well, the good work is to do it in the parish.
15:31That's how he thanks me for all the lessons I've given you.
15:34And on top of Bardes.
15:36You don't want me to pay him to learn his commandments?
15:39Well, I should.
15:41What if he doesn't believe you, huh?
15:43You managed to get hired without even finishing the month of trial.
15:47Thanks to my teaching and thanks to the amendment.
15:50And I thank you very much, Esperanza.
15:52I am very grateful.
15:53But I say that I must have had something to do with it, right?
15:55That here, the one who has been hitting the rooster
15:57while you were at home for the roll call,
15:59has been here the girl.
16:00Cree crow.
16:01Have you seen? Have you seen me learn?
16:03With everything I've taught you.
16:05And now you don't even want to give me a merit.
16:07Don't get me involved in your affairs, Esperanza.
16:10Leave me.
16:11Of course I get you involved.
16:12Because no one, like you, can understand me.
16:14That you also direct your own team.
16:16Let's see, who wins the battles?
16:18The soldier who goes to the trench?
16:21Or the sergeant who goes and says what to do?
16:24How to do it?
16:25And when to do it?
16:28Since we are.
16:29When a student takes a test of who is in merit.
16:32Of the student who has studied or of the teacher who has taught the lesson.
16:35But they ask me, I came to put two coffees.
16:38Answer once.
16:40I don't know.
16:41Well, the sergeant is yours, Esperanza.
16:43And the student is yours, Marta.
16:45But then you are not giving the reason to both, like crazy.
16:48And if you don't give the reason to both, you are not giving it to any.
16:51Of course.
16:52You know what I tell you?
16:53That you put the coffees.
16:59And I tell you one thing.
17:00Let it be the last time you take out the colors in front of another boss.
17:04Because if you don't, you're going to spend all afternoon cleaning the floor of the lab with baking soda and brushes.
17:09Well, Esperanza, that will be another day because I'm bored.
17:13I die and I don't educate you.
17:23Come in, honey.
17:24Antonia, I don't know if I'm doing well being here.
17:26Teresa doesn't like customers visiting the common areas of the living room.
17:30Oh, Teresa, Teresa. Not that you were any customer.
17:32Come in and sit down.
17:34Well.
17:37This is so empty, isn't it? I thought I would find all of you here.
17:40Oh, yeah. Well, then you see them.
17:42They have all gone to the bookstore.
17:44Miguel is doing a demonstration of strips and corsets.
17:49Strips and corsets?
17:50Yes, yes, yes.
17:51In the bookstore?
17:52That's right.
17:53And it has to be very interesting because it has gone all the way to Cañete.
17:55I can't believe it. I swear.
17:58But look, you know what? I have you for myself.
18:00Oh, you're going to come with me.
18:03Very well.
18:10I have empanadas. Do you want some?
18:11No, thank you, Antonia. I've already eaten.
18:15Well, then.
18:17Tell me, why did you come?
18:19If I tell you the truth, it's because I miss you a lot.
18:23That's the real reason.
18:25If it hadn't been for this stupid rule of married women, I wouldn't have quit my job.
18:29You don't know how I understand you.
18:31Perfectly, besides.
18:33But, well.
18:35Let's hope this changes soon.
18:36I hope so.
18:37I hope so.
18:39Well, how is Marta doing as a cleaner?
18:41You will be very happy to have her here.
18:43Well, yes. The truth is that yes.
18:45Well, she performs very well, really.
18:47And she holds up Esperanza very well. That's another job, huh?
18:52I'm very happy for her. She deserves it.
18:54Yes.
18:55That girl makes herself loved.
18:57Even Clarita missed her when she took her to school.
19:00Marta also missed her a lot.
19:02By the way, she's about to finish her shift.
19:04Why don't you wait for her and go get Clarita together?
19:08You two will be very happy.
19:09Oh, well, that's a very good idea.
19:11Yes, I'll look for her later.
19:13But eat, eat, please.
19:15The truth is, Antonia, that...
19:17I've missed these moments a lot.
19:20To hear the gossip.
19:21One and the other.
19:23Any news I should know?
19:26Yes.
19:27Laurita and her friend Celia, the photographer.
19:29Well, they're going to take care, from now on, of the gramophone shop.
19:33Well, I already knew that Laurita was a very entrepreneurial woman.
19:36Yes.
19:38Although, poor thing.
19:39She won't have her head at all with what happened to Inés.
19:42Poor thing.
19:44I thought I was going to visit her, but...
19:47I don't know if it's the right time.
19:48Maybe it's too soon, I don't want to bother her.
19:50I see.
19:52By the way, it was because of Don Fermín that...
19:54that today is Mrs. Carla's funeral.
19:56Oh, Antonia, that's very complicated to tell.
19:59I see.
20:01Honey, I don't want to be indiscreet anymore,
20:03but I've heard from two clients,
20:05and they commented that...
20:07the newspapers say they have arrested a suspect in the crime.
20:11And you've thought that Iñigo was that suspect, right?
20:16Don't worry, Antonia.
20:18Yes, it's him.
20:20He was the man they arrested.
20:23But they've also released him, because he's innocent.
20:26But that's what the newspapers don't say.
20:28Of course, because the rumors sell much worse.
20:30I see.
20:31But that's the problem.
20:33The rumors, when they are repeated a lot,
20:36end up being true in the eyes of others.
20:40I'm afraid they'll start treating Iñigo like a murderer,
20:42when he's not.
20:43Of course not.
20:45The truth will come out, you'll see.
20:50I hope so.
20:51It's good that he came.
20:53Yes.
21:11Mr. Jacob.
21:13It seems you've been alone for a while.
21:16Maybe the company you were waiting for has left you stranded.
21:19Who says I'm waiting for someone?
21:22Maybe that company...
21:23I've just met here.
21:25But for that I have to wait a bit.
21:28You're right.
21:29I've got ahead of myself.
21:32In any case, if you need me to introduce you to someone...
21:35No, no, no, no, no, no, no, no.
21:37I think I know how to defend myself, yes.
21:40Actually, that's not the reason I'm here.
21:43Tell me.
21:46I'm here as a spy.
21:49Are you spying on me?
21:52Yes and no.
21:56Let's say it's an industrial espionage.
21:59I'm here,
22:01gathering ideas for my new location.
22:03I'm here,
22:05gathering ideas for my new location in Seville.
22:07You know.
22:08What are the hours?
22:09The most affluent?
22:10How does the staff work?
22:12Even how you behave with the clientele.
22:15Who was going to tell me?
22:17I've taken Mr. Jacob as an example.
22:20Well,
22:21I'll let you keep spying on me.
22:23If you need anything, here I am.
22:25Thank you very much.
22:34We have to start this now, Elias.
22:36Don Salvador shows up in this one,
22:37he catches me with his hands in the dough,
22:38we've already messed it up.
22:40Well, with your hands in the dough, dear bookseller.
22:42In the dough!
22:43Stop giving chances.
22:44Of course.
22:45A success to the call.
22:46Congratulations, Elias.
22:47All of this could happen from time to time,
22:49but to buy books.
22:50Well, wherever there's a good course,
22:52let's get rid of that scoundrel.
22:53Let's go.
22:56A moment of attention, please.
22:59First of all,
23:00thank you very much for coming to our presentation
23:02of La Fajete products.
23:04It's an honor to have you all here in the bookshop.
23:08In case you didn't know,
23:09all these books you have in sight
23:11are also on sale.
23:12Miguel, stop chatting,
23:13we're running out of time,
23:14and in the end,
23:15we're leaving without seeing a single book.
23:17I'm coming, I'm coming.
23:18I'm coming.
23:19I'm coming.
23:20I'm coming.
23:21I'm coming.
23:22I'm coming.
23:23I'm coming.
23:24I'm coming.
23:25I'm coming.
23:26I'm coming.
23:27I'm coming, I'm coming.
23:28I have the products in the other bookshop,
23:30I'll bring them to you now.
23:31And since you've come to a demonstration,
23:34I've prepared a little surprise for you.
23:39Trini,
23:40why don't you go try on one of those corsets?
23:42Because in your state,
23:43it wouldn't suit you very well.
23:45How can I put on a corset?
23:46No, I've come to support Miguel,
23:48you know why.
23:50Esperanza,
23:51I didn't expect to see you here.
23:53Pave, let it cook.
23:54And you,
23:55since the wedding is near,
23:56you want to look very handsome, right?
23:58Of course.
23:59One moment, please.
24:00While we wait for Miguel,
24:01I, as the head of sales,
24:03I pass on to you
24:05the excellences of the girdles.
24:07Girdles for men and women.
24:08Girdles La Fajete,
24:10in which anyone can fit in,
24:11to make you thinner and more majestic.
24:14My goodness.
24:15A clear competitor has come out to Laurita
24:17with the phrase of this advertising.
24:19Mrs. Esperanza, I have a squirrel's ear,
24:21I've heard it perfectly.
24:22I said it so you could hear me.
24:25Hello.
24:26What are you doing here?
24:27I've been looking for my employees,
24:28from top to bottom,
24:29and it turns out they are here,
24:30for a literary meeting.
24:31Excuse me, Mrs. Teresa,
24:32but we are in the hour of rest, aren't we?
24:34No, because five minutes have already passed.
24:36Hey, the clock has stopped.
24:38Can you see it?
24:40What a strange phenomenon.
24:41And besides, what are you doing?
24:43Aren't you preparing a routine?
24:45Excuse me, Mrs. Teresa,
24:46if you allow me, I...
24:47No, I don't allow you.
24:48Come on, everyone work,
24:49let them see each other.
24:52Line up.
24:54One.
24:56Come on, Ias.
24:58And since there is no better way
24:59to check the quality of the products,
25:01than looking at the stalls...
25:02Shut up.
25:04And I thought you were a serious man.
25:22Has something happened to Inés?
25:24No, Inés is the same.
25:27You don't know how scared I was to see you.
25:29I know.
25:30Inés is not more serious,
25:31but I've come to talk about it.
25:33I know you've broken up.
25:35Well, broken.
25:36Let's say we're giving ourselves some time.
25:38With everything that's happening to Inés right now,
25:40it's not the right time.
25:41I see I did the right thing
25:42by coming to talk to you,
25:43because for Inés, the relationship is broken.
25:45What Inés needs now is tranquility,
25:47not that anyone disturbs her.
25:48So I beg you to respect her.
25:50Respect her will,
25:51and don't try to go back to her,
25:52because it won't happen.
25:55Did Inés ask you to come here to tell me this?
25:57No.
25:58Inés doesn't know I'm here.
25:59I came because I wanted to.
26:03Well, then,
26:04let me tell you right now
26:05that it's a matter that doesn't concern you.
26:07César,
26:08what have you done
26:09for my sister to break up with you
26:10overnight?
26:11Because I'm not going to insist on Inés,
26:12but I think I deserve an explanation from you.
26:16This is something that only affects
26:17your sister and me.
26:18Is it because of something you did
26:19or your friend from Marseille?
26:24Laurita, please don't turn around.
26:25I know you're worried.
26:26César,
26:27does it have anything to do with the cup of choice?
26:29It has nothing to do with it.
26:30But don't worry.
26:32Your sister will get her life back
26:33and she'll be happy.
26:34Her happiness depends on you.
26:37Look,
26:38I'm leaving,
26:39but I hope you leave her alone.
26:48Bye.
26:55Well, yes.
26:56Oh, no.
26:57What kind of bookkeeper
26:58was wearing a corset, Trinidad?
27:00Oh, my God.
27:01But
27:02did it look good on her?
27:03How could it look good on her, woman?
27:05Well, I don't know.
27:06It was a demonstration.
27:07Well, no.
27:08It was a demonstration
27:09of being ridiculous.
27:10That's what it was.
27:11Listen,
27:12do you know why Mrs. Lazara
27:13has brought us here?
27:14Well, no.
27:15I have no idea.
27:16I suppose it's not right
27:17to ask me your business.
27:19Don Fermín should have chosen you
27:20as his manager,
27:21not her.
27:23Well,
27:24don't make a big deal out of it.
27:25I'm not going to forget
27:26so easily
27:27that you've been away
27:28from work for a few minutes
27:29to go and look at the cards.
27:31Sorry.
27:32Ah, they're here.
27:36Yes, Mrs. Lazara,
27:37here we are.
27:38The dependents you told me about
27:39at the time you told me.
27:41Thank you very much, Teresa.
27:42What I'm going to tell you next
27:44is something I prefer to do like this,
27:46with small groups,
27:48to be able to answer
27:49all your questions
27:50and your doubts.
27:51Well,
27:52you will be the first.
27:55My goodness,
27:56how scary.
27:57Is it something serious?
27:58No, no, no, no, no.
27:59What we are going to deal with
28:00is something very beneficial
28:01for the salon
28:02and therefore
28:03for us.
28:05I've been doing
28:06a profitability study
28:08and I've discovered
28:09something amazing.
28:11With very little
28:12that we put on our part,
28:14we will be able
28:15to double
28:16the weekly profits.
28:18Double the profits?
28:19But how?
28:20I mean,
28:21are we raising
28:22the prices like crazy?
28:24Well, almost, almost.
28:25Trinidad.
28:26What I want
28:27is for you
28:28to double
28:29your weekly sales.
28:31Monday?
28:45Oh.
28:47How good it feels
28:48to have the work done
28:49and all afternoon
28:50to go for a walk.
28:52Thank you for inviting me,
28:53Matilde.
28:54Going to look for Clarita
28:55at school today
28:56was the best I could do.
28:58The boats you took
28:59in the square,
29:00that was the best.
29:01The delicious walk,
29:03the boats too,
29:04but now that we are
29:05at home, Miss,
29:07I would like to talk
29:08very seriously with you.
29:11How good it feels
29:12to go in the afternoon.
29:13What did your teacher
29:14tell me
29:15when I went to pick you up?
29:17Well, if you don't know,
29:18she told you.
29:21Hey, Clarita,
29:22watch how you talk to me.
29:26Your teacher complains
29:27about the behavior
29:28you've been having
29:29these days.
29:30And she even told me
29:31about your bad grades,
29:32that you had it
29:33very quiet, by the way.
29:34You don't believe everything she says.
29:35She's got me.
29:36Clarita, she taught me
29:37the exams.
29:38And there are several suspended,
29:39many,
29:40in fact.
29:41The lessons
29:42were a mess.
29:44Clarita,
29:45I need you
29:46to change your attitude.
29:48Clarita,
29:49with how good a student
29:50you've always been,
29:51so smart,
29:52so obedient,
29:53and so responsible.
29:54And what good is it for me?
29:56What good is it for me
29:57to be obedient
29:59and responsible?
30:00Of nothing.
30:01Nobody listens to me.
30:02Nobody listens to me.
30:04Hey, that's not true.
30:06You can talk to me
30:07whenever you want.
30:09With you.
30:10Look, Matilde,
30:11don't be a liar.
30:12If you don't listen to me...
30:14Clarita,
30:15don't go to your sister like that.
30:16I'll go to her
30:17however I want.
30:19Hey, Clarita.
30:24Do you want me
30:25to go talk to her?
30:27No, it doesn't matter.
30:29It doesn't matter,
30:30she'll get over it.
30:31I'm sorry, Marta.
30:33I'll take you for a walk
30:34and you'll find yourself
30:35with this.
30:36Don't worry.
30:37They're little girl's bumps.
30:38That's it.
30:39I don't think so.
30:41I thought that everything
30:42about moving in
30:43and living with Íñigo
30:44was over
30:45and it got worse.
30:47You have no idea
30:48how embarrassed I was
30:49with the teacher.
30:50The grades were so bad.
30:51Not because of that,
30:53but because of the behavior
30:54she's having now.
30:58Patience, Matilde.
31:00Patience and decision.
31:02Because I don't know
31:03about anything else,
31:04but about kids, yes.
31:05They all went through
31:06my hands.
31:07My people.
31:09The kids need to be
31:10aware of them,
31:11but they also need
31:12to set limits.
31:14Of course.
31:16What Clarita needs now
31:17are limits.
31:19If you need help,
31:20I'm here.
31:23Thank you, Marta.
31:26It's very easy to understand.
31:28I want them to do
31:29more sales
31:30and make more money
31:31per sale.
31:34But how do you expect
31:35the dependents to do that?
31:37It's simple.
31:38While they're preparing
31:39the client's order,
31:41you tell them
31:42about the excellence
31:43of other products
31:44and encourage them
31:45to buy them.
31:48I'm sorry, Mrs. Lázara,
31:50but this proposal
31:51goes against a rule
31:52we have here in the salon.
31:54We can't talk
31:55to the clients
31:56more than we can
31:57to the account.
31:58That's right.
32:00In the modern world,
32:01we talk about what's fair
32:02to the clients.
32:03The clientele
32:04doesn't come here
32:05to talk about other things.
32:07Rules are useless.
32:09Unnecessary.
32:10I totally agree
32:11with you on that.
32:13But if we adjust
32:14some of them
32:15enough
32:16to help us
32:17with profitability,
32:19the change
32:21benefits us all.
32:22Yes,
32:23but profitability
32:24isn't everything.
32:26If the modern world
32:27stands out for something,
32:28it's for the good treatment
32:29of its employees
32:30and for their elegance.
32:31Yes, it's about elegance
32:32and knowing how to be there.
32:33I'm not asking
32:34for anything more.
32:35What I'm asking
32:36is that while you work,
32:38recommend other products
32:39to the clients
32:40and, if possible,
32:41the most expensive ones.
32:47Can you tell
32:48why there's so much silence?
32:50Don't you think
32:51that the products
32:52in this salon
32:53are of the highest quality?
32:56Yes or no?
32:57Yes, yes.
32:59Well, then,
33:00be aware
33:01because you're not
33:02fooling anyone.
33:03You're just helping them
33:05to consume more.
33:07I'm sorry, Mrs. Lazara,
33:08but I think
33:09this is...
33:10I suppose
33:11what you think
33:12is based on old-fashioned criteria.
33:15And since I'm here,
33:16I'd like to tell you all
33:18that if you need me,
33:20you can look for me
33:21in Mr. Fermin's office.
33:24I'll take the table
33:25that's next to you.
33:28That's all.
33:29You can leave.
33:31And remember
33:32to see how the sales increase.
33:35One moment, Teresa.
33:46You tell me.
33:48I need you
33:49to be in charge
33:50of La Moderna this afternoon.
33:52Mr. Fermin and I
33:53will go together
33:54to the inauguration
33:55of the Plaza de Todos.
33:57You look qualified
33:58to stay alone.
34:02No.
34:09Dear Inés,
34:11I'm writing these letters
34:12to tell you
34:13what I'm going to do next,
34:15something I'm doing for me
34:16but, above all, for you,
34:18for us.
34:20Through the embassy,
34:21I've contacted
34:22the French Gendarmerie
34:23and I'm going to give them
34:24all the evidence
34:25I have against Marcel
34:26and the clan he works for,
34:28the Marseillaise clan.
34:29To do this,
34:30I only ask
34:31that they release me
34:32from prison
34:33so I can finally
34:34go to America,
34:35our dream.
34:37Remember?
34:39I don't want to pressure you
34:40but I hope you still
34:41want to come with me.
34:43This is the only way
34:44I've found
34:45to guarantee
34:46that they won't hurt you again.
34:49But if you don't want
34:50to know anything more about me,
34:51I'll understand
34:52and I won't bother you again
34:54even if you're
34:55what I want most
34:56in this world.
34:59This will be
35:00my farewell gift.
35:04I just hope that one day
35:05you can forgive me
35:06for all the harm
35:07I've caused you.
35:09With all my love,
35:11Cesar.
35:26So I go out
35:27with the corset on
35:28thinking that you would be there
35:29and that you knew
35:30what you were coming for.
35:32Like, well,
35:33like showing
35:34the 8th wonder of the world.
35:35Well, for Teresa
35:36it would be the 8th,
35:37the 9th,
35:38or the 10th wonder.
35:39It would have to do
35:40with the arms like this
35:41and the corset on the body.
35:42Teresa must have thought
35:43that she had become
35:44a coupletist.
35:45Yes, yes,
35:46laugh, laugh,
35:47but I didn't have a good time.
35:48My goodness,
35:49so much trouble
35:50to organize the demonstration
35:51and I didn't sell a single strip.
35:52Besides, I think I gave up
35:53the corset
35:54because I won't be able
35:55to sell it.
35:56Will I have to pay for it?
35:58Well, love,
35:59let's see,
36:00you're always in time
36:01to do another demonstration.
36:02That's what commercials do, right?
36:03Of course,
36:04not even in the bookstore
36:05because I risk
36:06Don Salvador discovering me
36:07and then I don't sell
36:08a corset or a book or anything.
36:10Thank goodness
36:11you have me to cheer you up,
36:12friend.
36:13And you too, Trini.
36:15I brought you a gift.
36:17The gift is
36:18that you're going to leave us alone
36:19to enjoy the night
36:20alone.
36:23I have the gift out there
36:24because I couldn't put it in
36:25without you seeing it
36:26in advance.
36:27I'll go get it.
36:29It won't be your grandmother's portrait, will it?
36:31Of course not.
36:37No!
36:40Oh!
36:41A wicker bolster!
36:42But...
36:45And a sunshade!
36:46Yes!
36:49The first two gifts
36:50the baby has
36:51because you haven't received
36:52others, have you?
36:53What else is he going to get
36:54if you're the only one
36:55who doesn't know?
36:56Then it's clear.
36:58You're going to name him Godfather.
37:00And if the baby is a boy
37:01I'll give him my name.
37:03Francisco Ruiz Fernandez.
37:06I think it sounds good.
37:07Or Paquito.
37:09Or Curro.
37:11Or Kiko.
37:12Or Frasco.
37:13Or Frasquito.
37:14Or...
37:16Miguel, don't get like that.
37:17If you want,
37:18just call him Miguel II.
37:19But I didn't imagine it...
37:21Well, I'm excited.
37:23Sorry.
37:24I didn't know you two
37:25were so sensitive about this.
37:26You're a great friend.
37:28Well, I'm going to get some liquor
37:29so we can cheer up the father.
37:31Sorry.
37:35Miguel.
37:38Don't you think it's time
37:39for Trini to stop working?
37:41She eats more and more
37:42and she's going to start noticing
37:43she's pregnant.
37:44And that living room is full
37:45of women who do everything.
37:46And yet
37:47you're the only one who knows.
37:48For a short time, Miguel.
37:49You have to convince her.
37:51I tried yesterday
37:52but she didn't listen to me.
37:53Well, this
37:54goes against our genes.
37:55Cañete, you know that my mother
37:56worked until the day
37:57she gave birth to me.
37:58And moreover, literally.
37:59Because she was in front
38:00of the fireplace
38:01and I almost burned myself
38:02when I saw this scar.
38:03But stop being silly, Miguel.
38:04This is serious.
38:06Trini, being pregnant,
38:08shouldn't be working.
38:11I can imagine her there.
38:13The poor thing.
38:15But...
38:17Sigh.
38:22I know it's late,
38:23but there was no other time
38:25to meet with my accountant.
38:26You see,
38:27that's how demanding
38:28a businessman's life is.
38:30Well, you accompany me
38:31to the bullfight
38:32and I accompany you
38:33back to the office.
38:34You have to be grateful.
38:35I hope I haven't
38:36disappointed you.
38:38No, no, no.
38:39On the contrary.
38:40I've learned a lot from you.
38:43Thank you very much,
38:44but I was referring to the square.
38:46Oops!
38:47Sorry.
38:48No.
38:49There were some things
38:50to be done.
38:51I have the feeling
38:52that you rushed
38:53the inauguration.
38:54Well, I don't know.
38:55The truth is
38:56that I'm not as...
38:58as understood as you.
39:00It seemed to me
39:01that the square was a dream.
39:02So big
39:03and with those beautiful arches.
39:06It may be so.
39:07Do you know
39:08how much that bullfight
39:09has cost?
39:11No more,
39:12no less
39:13than 12 million pesetas.
39:15Shut up, shut up.
39:16For God's sake,
39:17I get dizzy just thinking
39:18about those amounts.
39:19What has impressed me
39:20has been
39:21Diego Fortuna's work.
39:22He had the responsibility
39:23of leading
39:24the first bull
39:25in the history of sales.
39:27And his pulse
39:28has never trembled.
39:30And what was that?
39:31A bull from the cattle
39:32of the Domecques.
39:34Wow.
39:36You never cease to surprise me
39:37with your knowledge,
39:38Mrs. Lázara.
39:39I would never have thought
39:40about you.
39:41Well, it's true
39:42that I like tauromaquia,
39:44but
39:45from your arm
39:46I'm learning a lot.
39:47You know so many details
39:48and so many facts
39:49about bullfighting.
39:52Thank you very much
39:53for insisting
39:54that it be the inauguration.
39:56I would never have forgiven myself
39:57for not being present
39:59in this
40:00historical event.
40:03I am the one who is grateful.
40:05It is a pleasure
40:06to spend time with you.
40:08It is to be here
40:09in this office
40:10working,
40:11but today in the square
40:14has been a perfect afternoon,
40:15Mr. Fermin.
40:22Clarita has just eaten
40:24and you have seen
40:25the answers she has given me.
40:26And why didn't you listen
40:27to them before?
40:30Don't you think
40:31you're worrying too much?
40:33Look, Clarita is
40:34in an age of change
40:36and if you add to that
40:37everything that has happened to her,
40:38that she becomes an orphan,
40:39her brothers live far away,
40:40the accident...
40:42There are many things.
40:44Yes, but even the teacher
40:45has not paid attention to me.
40:48Well, I don't know.
40:49I hope you're right.
40:55Let's trust.
40:58Oh, by the way,
40:59before I forget,
41:01what do we know about Inés?
41:03Well, at the moment
41:04we don't know the extent
41:05of her injury,
41:07but in the meantime
41:08I have asked Jacob
41:09to help me
41:11investigate what is happening
41:12in Madrid Cabaret.
41:14And that?
41:16Do you think
41:17something is happening
41:18behind your back?
41:19I'm afraid César
41:20is hiding something from me.
41:22I'm not sure, but
41:24maybe it's everything
41:25that is happening
41:26that is making me paranoid.
41:28No,
41:29it's not being paranoid,
41:30it's being attentive.
41:31You're doing well.
41:34You don't know how lucky
41:35I am to have to talk to you.
41:38You always
41:39understand me
41:41and we are
41:42in the same tune.
41:46I see you don't regret
41:47marrying me.
41:50It's the best
41:51I've ever done in my life.
41:53You make me very happy.
41:56And you to me.
42:01My son had to see you.
42:02Open the door.
42:03We know you're at home.
42:10Come in.
42:14Inspector.
42:15Come in, please.
42:17Here is the registration
42:18and the judge's
42:19request.
42:21Start the registration.
42:22You know what to look for.
42:35I don't want to bother you anymore.
42:37The accountant
42:38has just arrived
42:39and you're late.
42:40Excuse me,
42:41I would like to
42:42accompany you home,
42:43but
42:44I have to...
42:45No, please.
42:46Don't worry.
42:48I'll let you work.
42:49Yes.
42:51Well,
42:52I'm a little ashamed
42:53to talk about this,
42:54but
42:55I don't know if you know
42:56that when I was working
42:57in the Madrid-Paris warehouses,
42:58I was in charge
42:59of recommending
43:00the jewels
43:01to the wife
43:02of Maestro Belmonte,
43:03Mrs. Julia.
43:05Wow,
43:06you're
43:07a surprise box.
43:11I really enjoyed
43:12spending a few hours
43:13with you outside
43:14this room.
43:16I agree.
43:17We spent many hours
43:18here working
43:19shoulder to shoulder,
43:20but
43:21I don't know,
43:22I think this afternoon
43:23I was able to get to know you better.
43:25Well, I hope
43:26what you've discovered
43:27doesn't disappoint you.
43:30Don Fermin,
43:31you couldn't disappoint
43:32any woman.
43:33Never.
43:37Excuse me,
43:38I've talked too much.
43:39No, no.
43:41Don't worry.
43:42Good things
43:43don't last long.
43:44Good night,
43:45Don Fermin.
43:46Good night.
43:47I'm going to hug you.
44:03I know it's the costume
44:04for my first wedding,
44:05Ramón's wedding.
44:07But
44:09I think what's important
44:10is what you feel,
44:11not what you wear.
44:14And, well,
44:15I also think
44:17we'll save a lot of money,
44:18which isn't bad at all.
44:22Antonia, may I?
44:23Yes, come in.
44:24It's open.
44:27Hi, honey.
44:28Hi.
44:30Marta, I'll call for dinner,
44:31but
44:33I'll leave your dinner here.
44:35Sit down, please.
44:37I wanted to talk to you
44:38about the preparations
44:39we have left for the wedding.
44:42Well, we still have to agree
44:45where we're going to do the invitation,
44:46but what really worries me
44:47are our costumes.
44:50I guess you'll wear
44:51the Sunday costume,
44:53which looks great on you,
44:54you're going to look very handsome.
44:56And it would be nice if Marta
44:57could see it,
44:58in case we have to make some adjustments.
45:01And as for my costume,
45:04what's wrong?
45:07Well,
45:09about the bakery,
45:12it's getting complicated.
45:14What do you mean?
45:15What are you talking about?
45:17Yes, because there's another
45:18who wants the transfer.
45:21And he'll have to solve it
45:22with a push.
45:24A push?
45:25Yes, the one who makes
45:26the best offer gets it.
45:29We have to increase
45:30our offer, Antonia.
45:33Increase how much?
45:34How much are we talking about?
45:36As much as we can.
45:38Everything.
45:40Because, of course,
45:41if he offers more,
45:42he'll take it.
45:44All our money?
45:47But, Pedro,
45:49maybe we have to think about it,
45:51because it's on that street,
45:52at the bakery,
45:54but maybe it's not a good deal, right?
45:56I have no doubt about that, Antonia,
45:58but with a push like that,
46:00is it all or nothing?
46:03Well, it gives a little vertigo,
46:04to be honest.
46:06I'm sorry,
46:08but I had to tell you.
46:09Yes, of course.
46:10I didn't want to give you
46:11a bad night.
46:14We'll talk about it tomorrow,
46:15okay?
46:16Yes.
46:17What were you telling me
46:18about the suits?
46:20No, nothing, nothing.
46:22Nothing.
46:24Eat quietly.
46:29Thank you.
46:34Are they going to take
46:35Inigo to the dungeon?
46:37No.
46:38Of course not.
46:40Hey, Clarita,
46:41why don't you go to bed
46:42and go to bed?
46:43And now I'll tell you, okay?
46:44Come on.
46:47Come on.
46:59Can you tell
47:00what this mess is about?
47:02They've woken up
47:03my little sister again.
47:04I'm sorry, ma'am,
47:05but it's the usual procedure.
47:07Are they coming to my house
47:08at this time?
47:09It's all explained
47:10in the order.
47:11If you're good at reading it...
47:12Inspector,
47:13I owe you an explanation.
47:14Very good.
47:15Maybe you didn't
47:16expect it,
47:17Mr. Peñalver,
47:18but the investigation
47:19has taken
47:20an unexpected turn.
47:22Looking at the area
47:23where the corpse
47:24of the widow of Morcuende
47:25was found,
47:26a button was found.
47:28The button of a jacket,
47:29exactly.
47:30Does it ring a bell?
47:34No.
47:42Are they really
47:43looking for that in my house?
47:44A jacket
47:45that lacks a button,
47:46indeed.
47:48And they still consider me
47:49a suspect
47:50in Carla's murder, right?
47:51Don't worry.
47:52If you're innocent,
47:53we won't find anything
47:54in this record.
47:56But I'm very afraid
47:57that...
47:59Is this jacket yours?
48:02Well, of course it's mine.
48:04Well, it lacks a button here.
48:05Can you see it?
48:16I'm sorry to tell you
48:17that the button found
48:18in the river
48:19is exactly the same
48:20as the others in the jacket.
48:22I think you're going to have
48:23to give me many explanations.
48:25But many explanations.
48:35Yes, yes.
48:36Tell me, Inspector.
48:40What?
48:42How is it possible?
48:44We must be prepared.
48:45The police can show up
48:46at any moment
48:47and arrest me.
48:48No.
48:49That's not going to happen.
48:53You should talk to him.
48:54No, Pietro.
48:55I can't do that.
48:56If I talk to him,
48:57I'd be betraying Antonia.
48:58That's even worse.
48:59Back home, Pietro.
49:01Wait for me.
49:02Back home, Pietro.
49:03Wait for me.
49:04The transfer
49:05of the bakery
49:06is coming for sure.
49:07And in the meantime,
49:09how do I look him in the eyes?
49:11I'm out of breath, my love.
49:12Come on.
49:13Take your pills.
49:14If you don't, I'll eat them.
49:16But if I don't say it for me,
49:17I'll say it for you.
49:18Can't you hold my hand?
49:20Why don't you quit your job?
49:22I'm leaving
49:23the modern life too, Fermín.
49:24What are you saying?
49:25Yes, I'm sorry.
49:26But Antonia and I
49:27are going to open a bakery.
49:29We have to try
49:30to keep Pietro from leaving.
49:31We have to convince him,
49:32no matter what.
49:33And I'm not telling you to do it.
49:35Let me do it.
49:36Let me try.
49:37We have nothing to lose.
49:38How's your first week
49:39as a cashier?
49:41Well,
49:42getting to work,
49:43little by little, yes.
49:44Well, I'm Agustín.
49:46Laura.
49:47Although everyone
49:48calls me Laurita.
49:49We have to schedule
49:50the exact time
49:51for each client.
49:52Like all changes
49:53and innovations,
49:54this will generate
49:55some resistance.
49:57But nothing happens.
49:58It's normal, natural.
49:59And, to a certain extent,
50:00desirable.
50:01But, well, this woman,
50:02I don't know what she's thinking.
50:04This is an elegant place
50:05and you can't rush
50:06the clients like this.
50:08Listen, we're not going
50:09to listen to her at all.
50:11Is the director of the bakery
50:12a friend of yours?
50:13Call him.
50:15Call him for what?
50:16What do you mean, for what, Fabio?
50:18For him to publish about Íñigo.
50:20Hey, are you okay?
50:21I am.
50:23I don't think so.
50:25I already know you.
50:26What's wrong with you?
50:27What's going on?
50:29You can tell me, woman.
50:30What confidence.
50:31I don't like the tone
50:32you're talking to me in.
50:34I already told you
50:35I'm here for a business interest.
50:36Nothing more.
50:38But so much suspicion
50:39makes me a little suspicious.
50:41He's going to laugh,
50:42but the matter
50:43of Antonia and Pietro
50:44has moved me a little.
50:46I don't know.
50:47I found it very nice
50:48that gesture he made
50:49when he sacrificed everything
50:50for his future wife.
50:52I know.
50:54I was talking to the waiters.
50:57Really?
50:58Yes.
50:59And they told me
51:00that one of them
51:01left overnight
51:02without warning.
51:03A little strange, isn't it?
51:05Well, the police should
51:06find out a little more.
51:08Or maybe they don't know
51:09that most men's jackets
51:10have the same button.
51:12Really?
51:13How do you know?
51:15I sewed buttons
51:16when I was working
51:17with your aunt
51:18with Chitán in the workshop.
51:19I've come to ask her
51:22not to get close
51:23to my niece again.
51:25I love her with all my soul.
51:26I would never have wanted
51:27to hurt her.
51:28It doesn't matter
51:29whether you want to or not.
51:31You bring her problems.
51:34So stay away from her.