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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.
01:17I don't know.
01:18I don't know.
01:19I don't know.
01:20I don't know.
01:21I don't know.
01:22I don't know.
01:23I don't know.
01:24I don't know.
01:25I don't know.
01:26I don't know.
01:27I don't know.
01:28I don't know.
01:29I don't know.
01:30People don't open their businesses.
01:31What?
01:32Pietro wants to leave the modern too?
01:33Take her and close the door!
01:35And on this topic, please, keep your mouth shut!
01:37Yes, shut my mouth.
01:38And with keys.
01:39I'm going to keep the secret, but please don't leave me like this.
01:43What's that about Pietro leaving the modern too?
01:44Is that the man you live with?
01:45No. He wants to find a job where we can be together.
01:49How romantic.
01:51And has he talked to Mr. Fermin?
01:52Because I don't think it would be funny for him to lose the star baker of La Moderna.
01:58No, not yet. That's what worries me so much.
02:01I feel like I'm lying to him.
02:03But daughter, the way things are, he hasn't found the right moment.
02:06These things can't be said like that, all of a sudden.
02:09He doesn't know how I understand him.
02:10What I don't understand is how that rule is still in place.
02:12Yes, until he worked at the stairs, he had co-workers who were married.
02:17Yes, when I got to work here, I also wanted to complain about this rule, remember?
02:22But the other co-workers, who were more veteran,
02:25well, 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,
02:31that you don't have to change it now.
02:32Ah, the force of habit.
02:34A rule is made to go through the years and then no one wonders if it makes sense or not.
02:37It was what she said, it doesn't make any sense.
02:39No, none.
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 only she were going to get married.
02:51These days everything changes, the laws, the governments,
02:55but 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?
03:09I don't have any proof.
03:11It's just my intuition, but...
03:13I think César is hiding something from me.
03:17But are you sure about that?
03:19Yes, until now I didn't have any complaints, I was delighted with him, with his work.
03:22Yes, yes, I don't have any problem with his management of Madrid Cabaret.
03:26What happens is that the other day, when I was talking to him, I noticed something unsettling.
03:31And that's not normal, because I shouldn't have done it.
03:34Well, maybe it was because of the singer's incident.
03:38I understand that you have a sentimental relationship, don't you?
03:41Yes.
03:43We 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, I'm not saying that César is responsible.
04:00What happens is that he is usually very frank and direct.
04:03And in that conversation we had, he wasn't.
04:08I see.
04:10Well, the truth is that I still don't know what favor I can do to him with all this.
04:15Because I barely know César.
04:18Well, that's why I need you.
04:20I want you to go to Madrid Cabaret and observe everything.
04:23And write down everything that sparks his suspicion.
04:28Are you asking me to spy on him?
04:30I'm asking you to be my eyes.
04:31Because maybe nothing happens and what you're missing is my intuition.
04:36Okay, yes, I'll stop by Madrid Cabaret from time to time.
04:39I'll have a drink, I'll enjoy the music, the atmosphere.
04:43I think I've had worse jobs.
04:46Please, open your eyes.
04:49The last thing I need now is for something strange to happen in my business.
04:53The police have me in their sights and that would complicate my life.
05:02Oh, I don't want to see a rag in my life again.
05:05We've been cleaning the store all morning.
05:08Yes, who was going to tell us that a gramophone was going to accumulate so much dust?
05:12Well, how do you notice that Mario was dedicated to other things?
05:15Because he had the store sleeve by shoulder.
05:17Well, but the important thing is that now we have the genre as we like it.
05:21And that we have our own store.
05:24Hey, wouldn't Inés have to be here?
05:28Yes, she's in the hospital getting the treatments prescribed to her.
05:34Laura, I didn't tell you anything, but yesterday during the signature to the notary,
05:39Mr. Fermin didn't look very serious. Is he okay?
05:43Yes, my uncle is like me.
05:46He's happy because he's a doctor.
05:48But he can't stop thinking about what happened to Inés.
05:51They told us that we have to wait for the inflammation to go down to do more tests, but...
05:56But are you afraid of the worst?
05:59Yes, it seems that the irritation of the throat has caused an edema or something like that,
06:04the doctor said.
06:06We don't know very well what the consequences may be.
06:09My goodness, poor Inés.
06:11Just now that everything was starting to work out for her.
06:14My goodness, poor Inés.
06:16Just now that everything was starting to work out for her.
06:19She was about to sign the contract at the opera house.
06:22I wish it was all that.
06:24But what's the matter? Is there more?
06:26Last night Inés and César broke up.
06:30And since then Inés has been very discouraged.
06:33But Laura, what are you saying?
06:36Forgive the boldness, but do you know why they broke up?
06:39No, Inés doesn't want to talk about it and I don't see myself being able to insist, she has enough.
06:44But I don't know, they looked very happy, right? Like to break up overnight.
06:48And on top of that, in the situation Inés is in, she doesn't...
06:51Look, I think the same.
06:54I've been turning her around all night and...
06:56Don't say anything.
06:58But Inés sometimes said that things were happening at the Madrid-Cabaret that she didn't quite understand.
07:05Things? What things?
07:06I don't know, I didn't want to go into details, but...
07:10Strange people or situations that could be related to César.
07:16Are you insinuating that maybe César had something to do with Inés' accident?
07:21No, no, no, I don't know.
07:24Saying it out loud sounds crazy.
07:26Laura, listen to me.
07:28I don't see César capable of hurting Inés.
07:31He looked very in love, didn't he?
07:32Yes. Forget what I've told you, and forget about César.
07:36Now the important thing is to focus on Inés.
07:50Oh, now I feel it.
07:52My back is like new.
07:54Come here.
07:56Rosa, you're determined to get back to work, but I see you're still hurt.
08:02Hurt?
08:04Young women heal instantly.
08:07Well, I say it because of the head.
08:10Because she's cleaning the alley and she used to deny it.
08:13I mean, the pull on the back, but I think the mind too.
08:17The mind should be pulled by someone I know.
08:20Have you seen Cañete?
08:22No, why do you want to see him?
08:24Because I had to invite him to a demonstration, but I'll tell you later.
08:28A demonstration of what?
08:30Of fajas.
08:32Of fajas?
08:34But Cañete and you...
08:36Yes, you'll be interested too.
08:38Because they're fajas and corsets, the most comfortable and the best in the market.
08:43Or so Miguel says.
08:45Miguel too?
08:47Yes, Miguel too.
08:48Well, in fact, we're going to do a demonstration this afternoon at the bookstore at lunchtime.
08:53Miguel and I, you're invited.
08:55And why would I be interested in a faja?
08:57And corsets, fajas and corsets.
08:59Well, go to the bookstore and check it out.
09:02Well, maybe I'll pass.
09:04Because maybe a corset like that, well tightened on the back,
09:07it takes away the pain of a magician to work.
09:10Yes, of course, you too.
09:12That's exactly why you're going to be interested.
09:14Well, I'm going to look for Cañete.
09:16He has to be with Trini.
09:18I saw him holding her in his arms.
09:20In his arms?
09:22And I saw them kissing each other.
09:25If you mean what happened yesterday, Esperanza,
09:28I don't see anything wrong in helping a partner.
09:31Trini tripped and I picked her up in my arms.
09:33Period.
09:35Yes, yes, because you told her that a client left without paying.
09:38Yes, yes, you already told me that bullshit yesterday.
09:41If you want, I'll repeat it today too.
09:43The truths do not expire.
09:45Oh, there's no need.
09:47But boss, has Trini hit you again?
09:50Really?
09:52Start again?
09:54Nothing happens with Trini, Leñe.
09:56Let's see, but what problem do you have in opening your heart to me?
09:59Even if it's to tell me that you've fallen in love with Trini again,
10:02again, until the trunks.
10:04Come on, it's not a matter of love.
10:06Do you want to know what happens with Trini?
10:08Yes, of course.
10:10If I tell you what happens, do you stop being silly at once?
10:12Well, I can't promise you either, boss,
10:13but yes, tell me, tell me.
10:15No, what happens?
10:18It's just that he has a lot of imagination, Elias.
10:21And now he comes back inside that we have the whole living room.
10:24Let's see, let's see.
10:26He's in love until the trunks.
10:29All day with Trini in his mouth from now on.
10:32What a torture, really.
10:34I can't believe it, again.
10:44Oh.
10:56Oh, excuse me, Mr. Fermin.
10:58I'm sorry I didn't let you in.
11:00Yes, well, with all those folders and luggage you're carrying, it's ...
11:03Sorry.
11:05Oh my God, oh my God, what a shame.
11:07Excuse me, Mr. Fermin.
11:09No.
11:11Let's see.
11:13No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
11:15Don't worry.
11:17Oh my God, don't get upset, you have these menesteres.
11:20I didn't bother you at all, woman.
11:23If you are so right in the world,
11:26I don't know why I'm so loaded with everything,
11:28I just don't have anywhere to leave it.
11:30And now, on top of that, the mess of having it here collecting dust.
11:33No mess.
11:35And you know it can be installed in any of the rooms on the upper floor.
11:38Choose the one you like best and locate your office there.
11:41It's on paper.
11:43I'm sorry, but I can't do my job well in the living room on the upper floor.
11:47You know I like to have everything under control.
11:49Not to mention, of course, that I prefer to be closer to you.
11:52Maybe you need me, I don't know, to dispatch anything urgent.
11:56Yes, yes, you're right about that,
11:58but I insist that you find a place of work
12:01where you can develop your work in a more comfortable way,
12:04not with this suit and ...
12:06Well, if you insist, maybe ...
12:08I don't know, could I settle here?
12:10Here.
12:11Here in my office, you mean?
12:13Yes, of course.
12:15Well, I understand that your niece Laurita is no longer going to use it.
12:18Maybe I could occupy your table.
12:20If you think it's okay.
12:22Well ...
12:24Laurita will continue with the publicity of the living room,
12:29but the truth is that I no longer occupy the office.
12:34Look, 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.
12:46Yes, yes, I was going to Mrs. Carla's funeral.
12:48Accompanying 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,
12:56I've thought it over better
12:58and I'm going to go to the inauguration of the Plaza de las Ventas.
13:02Really? Yes, yes, yes.
13:04What good news.
13:06Who knows, maybe we'll see each other there in an hour.
13:08Well, let's hope so.
13:10So I wanted to thank you for your words yesterday
13:13that coincided with everything my nieces told me, encouraging me.
13:18It seems that you know very well human nature.
13:22I would like to.
13:32By the way ...
13:33Yes?
13:34Well ...
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,
13:49when I come from the funeral.
13:52Can I leave the model in your hands until then?
13:55No need 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 even know why I bother educating you.
14:35Commandment 9.
14:37Cleaning the plates and steel covers is none of your business, but of the waiter.
14:41So?
14:42Esperanza, if I don't like anything.
14:44Let's see, no water for the enemy.
14:47Get away from those covers.
14:49Manolo, I'll put the coffees on the table.
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 who's stealing here.
15:01You're taking away my place to put the coffees.
15:03You 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 away.
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.
15:28The poor people are out of town.
15:29Well, the good work is to do it in the parish.
15:32That's how he thanks me for all the lessons I've given you.
15:35And on top of Bardes.
15:37He wouldn't want me to pay him to learn his commandments.
15:40Well, he should.
15:41What if he doesn't believe you?
15:43What did you get them to hire you for?
15:45Without even finishing the month of trial.
15:47Thanks to my teachings 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?
15:56And here, the one who has been giving the callous
15:58while you were at home for the roll call,
16:00has been here the girl.
16:01Cree crow.
16:02Have you seen, have you seen me learn?
16:04With everything I've taught you.
16:06And now he doesn't even want to give me a merit.
16:08Don't get me involved in his affairs, Esperanza.
16:10Let me.
16:11Of course I get you involved.
16:13Because no one, like you, can understand me.
16:15That you also direct your own team.
16:17Let's see, who wins the battles?
16:19The soldier who goes to the trench?
16:22Or the sergeant who goes and says what to do?
16:25How to do it?
16:26And when to do it?
16:29Since we are.
16:30When a student takes a test of who is in merit.
16:33Of the student who has studied or of the teacher who has taught the lesson.
16:36But they ask me, I came to put two coffees.
16:39Answer once.
16:41I don't know.
16:42Well, the sergeant is his, Esperanza.
16:44And the student is yours, Marta.
16:46But then you are not giving the reason to both, like crazy.
16:49And if you don't give the reason to both, you are not giving it to any.
16:52Of course.
16:53Do you know what I tell you?
16:54You 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 the whole 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.
17:15I'll be right back.
17:23Come in, honey.
17:25Antonia, I don't know if I'm doing well being here.
17:27Teresa doesn't like that customers visit the common areas of the room.
17:31Teresa, Teresa, not that you were any customer.
17:33Come in, sit down.
17:38How empty is this, right?
17:39I thought I would find all of you here.
17:41Oh, well, then you see them.
17:43They have all gone to the bookstore.
17:45Miguel 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 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 accompany me in the meantime.
18:03Very well.
18:10I have empanadas, do you want?
18:11No, thanks Antonia, I've already eaten.
18:15Well, tell me, why did you come?
18:19If I tell you the truth, 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 left the job.
18:29You don't know how I understand you.
18:31Perfectly, besides.
18:33But well, let's hope this changes soon.
18:37I hope, I hope.
18:39Well, how is Marta doing as a cleaner?
18:42You will be very happy to have her here.
18:44Well, yes, the truth is that yes.
18:46Well, she performs very well, the truth.
18:48And she holds up Esperanza very well, that's another job, huh?
18:53I'm very happy for her, she deserves it.
18:55Yes.
18:56That girl makes herself loved.
18:58Even Clarita missed her when she took her to school.
19:01Marta also missed her a lot.
19:03By the way, she's about to finish her shift.
19:05Why don't you wait for her and go together to get Clarita?
19:08You will be very happy both of you.
19:10Well, that's a very good idea.
19:12Yes, I'll look for her later.
19:13But eat, eat, please.
19:16The truth is, Antonia, that I miss these moments a lot.
19:20Find out about gossip, one and the other.
19:24Any news I should know?
19:27Yes.
19:28Laurita and her friend Celia, the photographer.
19:30Well, they are going to take care, from now on, of the gramophone store.
19:32Ah.
19:34Well, I already knew that Laurita was a very entrepreneurial woman.
19:36Yes.
19:38Although, poor thing.
19:40She won't have her head at all with what happened to Inés.
19:43Poor thing.
19:45I thought I was going to visit her, but I 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, Mr. Fermin told me that today is Mrs. Carla's funeral.
19:56Oh, Antonia, that's very complicated to tell.
19:59I see.
20:01Darling, I don't want to be indiscreet, but I've heard from two clients.
20:06They said that the newspapers say that they have arrested a suspect in the crime.
20:12And you have thought that Iñigo was that suspect, right?
20:17Don't worry, Antonia.
20:18Yes, it's him.
20:21He was the man they arrested.
20:24But they have also released him, because he is innocent.
20:27But the newspapers don't say that.
20:28Of course, because the rumors sell much more.
20:31Yes, but that's the problem.
20:33When rumors are repeated a lot, they end up being true in the eyes of others.
20:40I'm afraid they'll start treating Iñigo like a murderer when he's not.
20:43Of course not.
20:45The truth will come to light, you'll see.
20:50I hope so.
20:52It's good that he came.
20:53Yes.
20:58Let's go.
21:15Don Jacobo.
21:17It seems that you've been alone for a long time.
21:20Maybe the company you were waiting for has abandoned you.
21:23Who says I'm waiting for someone?
21:25Maybe that company ends up meeting you here.
21:29But for that, I have to wait.
21:30A little.
21:32You're right.
21:33I've gotten ahead of myself.
21:36In any case, if you need to talk to someone...
21:39No, no, no.
21:41I think I know how to defend myself, yes.
21:44Actually, that's not the reason why I'm here.
21:48Tell me.
21:50I'm here as a spy.
21:51You're spying on me?
21:53Yes, and no.
21:57Let's say it's an industrial espionage.
22:00I'm here...
22:02gathering ideas for my new place in Seville.
22:04You know.
22:05What are the hours?
22:07How does the staff work?
22:09Even how you behave with the clientele.
22:12Who was going to tell me?
22:14I've taken Mr. Jacobo as an example.
22:16Well, I'll let you continue spying on me.
22:19If you need anything, I'm here.
22:21Thank you very much.
22:31We have to start this now, Elias.
22:33Don Salvador shows up in this one.
22:34He catches me with his hands in the dough.
22:35We've already messed it up.
22:37Well, with his hands in the dough, dear bookseller.
22:39In the dough!
22:40Stop saying that.
22:42I'm not saying anything.
22:43With his hands in the dough, dear bookseller.
22:44In the dough!
22:45Stop saying that.
22:47Of course.
22:48A success to the call.
22:49Congratulations, Elias.
22:50All this could happen once in a while, but...
22:52To buy books.
22:53Well, wherever there's a good course,
22:54let's get rid of that bastard.
22:56Let's go.
22:59A moment of attention, please.
23:08First of all,
23:09thank you very much for coming to our presentation
23:11of the La Fajete products.
23:13It's an honor to have you all here in the bookshop.
23:17In case you didn't know,
23:18all these books you have in sight
23:20are also on sale.
23:22Miguel, stop talking,
23:23we're running out of time,
23:24and in the end,
23:25we won't even see a page.
23:27I'm going, I'm going, I'm going.
23:28In the other store,
23:29I have the products.
23:30Now I'll bring them to you.
23:32And since you've come to a demonstration,
23:34I've prepared a little surprise for you.
23:36Trini,
23:37aren't you going to try one of those corsets?
23:39Because in your state,
23:40it wouldn't suit you very well.
23:42How could I wear a corset?
23:43No, I've come to support Miguel,
23:45and you know why.
23:47Esperanza,
23:48I didn't expect to see you here.
23:50It's going to take a while.
23:52And you,
23:53since the wedding is close,
23:54you want to look very handsome, right?
23:55Of course.
23:56One moment, please.
23:57While we wait for Miguel,
23:58I, as the head of the sales department,
24:00who I am,
24:01will go to Golosaros
24:02and I'll tell you
24:04about the excellence of the corsets.
24:07Corsets for men and women.
24:09Corsets La Fajete,
24:10in which anyone can fit in,
24:12to make you thinner and more handsome.
24:15Oh my God.
24:16A clear competitor has come out
24:17to Laurita with this advertising phrase.
24:20Mrs. Esperanza,
24:21I have a squirrel's ear.
24:22I've heard it perfectly.
24:23I've said it so you could hear me.
24:25Well,
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're here
24:30for a literary meeting.
24:31Excuse me, Mrs. Teresa,
24:32but we're on break, aren't we?
24:34No, because five minutes have already passed.
24:36Hey, your watch has stopped.
24:39Can't you see?
24:40What a strange phenomenon.
24:41And besides, what are you doing?
24:43You're not preparing a motif, are you?
24:45Excuse me, Mrs. Teresa,
24:46if you'll allow me, I...
24:47No, I won't allow you.
24:48Come on, everyone work.
24:50Let them see one by one.
24:52In a row.
24:54One by one.
24:56Come on, go.
24:58And since there is no better way
24:59to check the quality
25:00of the La Fajete products
25:01than by looking at the shelves...
25:02Shut up.
25:04And I thought you were a serious man.
25:24Has something happened to Inés?
25:25No.
25:26Inés is fine.
25:27She's fine.
25:29You don't know how scared I was to see you.
25:31I know.
25:32Inés is not more serious,
25:33but I've come to talk about it.
25:35I know you've broken up.
25:37Well, broken up.
25:38Let's say we're giving ourselves some time.
25:40With everything that's happening to Inés right now,
25:42it's not the right time.
25:43I see I did the right thing
25:44by coming to talk to you
25:45because for Inés the relationship is broken.
25:47What Inés needs now is peace of mind,
25:49not that anyone upsets her.
25:50So I beg you to respect her will
25:52and don't try to get back with her
25:53because it won't happen.
25:55Has Inés asked you to come here to tell me this?
25:57No.
25:58Inés doesn't know I'm here.
26:00I've come on my own.
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,
26:13but you,
26:14I think I deserve an explanation.
26:16This is something
26:17that only affects your sister and me.
26:19Is it because of something you did
26:20or your friend from Marseille?
26:22Laurita,
26:23please don't turn around.
26:24I understand you're worried.
26:25César,
26:26do you have anything to do
26:27with the Egyptian cup?
26:28It has nothing to do with it.
26:29But don't worry.
26:30Your sister will get her life back
26:31and she'll be happy.
26:33Her happiness depends on you.
26:35Look,
26:36I'm leaving,
26:37but I hope you leave her alone.
26:53Oh, yes.
26:54Oh, no.
26:55What bookseller
26:56was wearing a corset?
26:57Trinidad?
26:58My goodness.
26:59But,
27:00did it look good on her?
27:01How could it look good on her, woman?
27:03Well, I don't know.
27:04It was a demonstration.
27:05Well, no.
27:06It was a demonstration
27:07of being ridiculous.
27:08That's what it was.
27:09Hey,
27:10do you know why Mrs. Lázara
27:11has brought us here?
27:12Well, no.
27:13I have no idea.
27:14I suppose it's not right
27:15to tell me your business.
27:18Don Fermín
27:19should have chosen you
27:20as his manager.
27:21Not her.
27:22Well,
27:23don't make a big deal out of it.
27:24I'm not going to forget
27:25so easily
27:26that you were away
27:27from work for a few minutes
27:28to go and look at the billboards.
27:31Sorry.
27:32Ah,
27:33they're here.
27:36Yes, Mrs. Lázara,
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
27:44next
27:45is something I prefer to do
27:46like this,
27:47with small groups,
27:48to be able to answer
27:49all your questions.
27:50And your doubts.
27:51Well,
27:52you will be the first.
27:54My God,
27:55how scary.
27:56Is it something serious?
27:57No,
27:58no, 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 have been doing
28:06a profitability study
28:08and I have discovered
28:09something amazing.
28:11With very little
28:12that we put on our part,
28:14we can double
28:15the weekly benefits.
28:17Double the weekly benefits?
28:19Yes,
28:20double the benefits.
28:21But,
28:22I mean,
28:23we raise the prices
28:24like crazy.
28:25Well,
28:26almost, almost.
28:27Trinidad.
28:28What I want
28:29is that you double
28:30your weekly sales.
28:32Monday?
28:34Tuesday
28:48I'm so glad
28:49to have the work done
28:50and all afternoon
28:51to go for a walk.
28:52Thank you for inviting me,
28:53Matilde.
28:54Going to look for
28:55Clarita at school today
28:56was the best thing
28:57I could do.
28:58The boats you took
28:59in the square,
29:00that was the best.
29:02The walk was delicious,
29:03the boats too,
29:04but now that we're
29:05at home, miss,
29:07I would like to talk
29:08very seriously with you.
29:11About how well I was doing
29:12in the afternoon.
29:14What did your teacher
29:15tell me when
29:16I went to pick you up?
29:17Well, if you don't know,
29:18she told you.
29:22Hey, Clarita,
29:23watch how you talk to me.
29:26Your teacher complains
29:27about the behavior
29:28you're having
29:29these days
29:30and she even told me
29:31about your bad grades,
29:32how quiet you were,
29:33by the way.
29:34You don't believe everything
29:35she says.
29:36She's got me.
29:37Clarita, she taught me
29:38the exams
29:39and there are several
29:40suspended ones,
29:41many, in fact.
29:42But the lessons
29:43were a mess.
29:45Clarita,
29:46I need you
29:47to change your attitude.
29:49Clarita,
29:50with how good a student
29:51you've always been,
29:52so smart,
29:53so obedient
29:54and so responsible.
29:55And what good is it to me?
29:57What good is it to me
29:58to be obedient
29:59and responsible?
30:01Of nothing.
30:02Nobody listens to me.
30:03Nobody 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.
30:25Do you want me
30:26to go talk to her?
30:27No, I don't care.
30:29Maybe she'll get over it.
30:31I'm sorry, Marta.
30:33I'll take you for a walk
30:34and you'll find this.
30:36Don't worry.
30:37It's a little girl's habit.
30:38That's it.
30:39I don't think so.
30:41I thought that everything
30:42about moving in
30:43and coming to live with Íñigo
30:44was over
30:45and it's gotten worse.
30:47You don't know how ashamed
30:48I've been with the teacher.
30:49The grades must be so bad.
30:51Not because of that,
30:52but because of
30:53the behavior
30:54she's having now.
30:57Patience, Matilde.
31:00Patience and decision.
31:02Because we don't know
31:03about other things,
31:04but about the kids, yes.
31:05They all went through me
31:06and my people.
31:09And the kids need
31:10to be aware of them,
31:11but they also need
31:12to put limits on them.
31:15Of course.
31:17What Clarita needs now
31:18are limits.
31:20If you need help,
31:21I'm here.
31:26It's very easy to understand.
31:27I want you to sell more
31:29and make more money
31:30by selling.
31:34But how do you want
31:35the clients to do that?
31:37It's simple.
31:39While they're preparing
31:40the 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 necessary.
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 argue with us.
32:06Rules are useless.
32:08Unnecessary.
32:09I totally agree
32:10with you on that.
32:12But if we adjust
32:13some of them
32:15enough
32:16to help us
32:17with profitability,
32:18then the change
32:20benefits us all.
32:22Yes, but profitability
32:23isn't everything.
32:24If the modern world
32:25stands out for something,
32:26it's for the good treatment
32:27of its employees
32:28and for their elegance.
32:29Yes, it's about elegance
32:30and knowing how to be there.
32:32I'm not asking you
32:33to stop doing it.
32:34What I'm asking you
32:35to do
32:36is to recommend
32:37other products
32:38to the clients
32:39while they're working
32:40and, if possible,
32:41the most expensive ones.
32:47Can you tell me
32:48why there's so much silence?
32:50Don't you think
32:51the products in this salon
32:52are of the highest quality
32:53in the world?
32:55Yes 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
33:13on 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.
33:23I'll take the table
33:24next to his.
33:28That's all.
33:29You can leave.
33:30And remember
33:31that I want to see
33:32how 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.
33:57He looks prepared
33:58to be alone.
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 especially for you.
34:18For us.
34:20Through the embassy,
34:21I got in touch
34:22with the 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.
34:31To do this,
34:32I only ask that I be released
34:33from prison
34:34so that I can finally
34:35go to America.
34:37Our dream.
34:39Remember?
34:40I don't want to pressure you,
34:41but I hope you still
34:42want to come with me.
34:44This is the only way
34:45I've found
34:46to make sure
34:47you don't get hurt again.
34:51But if you don't want
34:52to know anything else about me,
34:53I'll understand.
34:54And I won't bother you again,
34:56even if you're what I want
34:57most in this world.
34:59This will be my 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,
35:11César.
35:20I love you.
35:27So I go out
35:28with the corset on
35:29and thinking
35:30that you would be there
35:31and that you knew
35:32what you were coming for.
35:33And I go,
35:34tachán,
35:35like showing
35:36the eighth wonder of the world.
35:37Well, for Teresa
35:38it would be the eighth,
35:39the ninth,
35:40or the tenth wonder.
35:41It would have to do with her
35:42with her arms like this
35:43and the corset on her body.
35:44Teresa must have thought
35:45that she had become
35:46a coupletist.
35:47Yes, laugh, laugh,
35:48but I didn't have
35:49time to make a demonstration
35:50and I didn't sell a single strip.
35:51Besides, I think
35:52I gave up the corset
35:53because I won't be able to sell it.
35:54I'm going to have to pay for it.
35:56Well, there you have
35:57your first sale, Miguel.
35:59Well, love,
36:00let's see,
36:01you're always in time
36:02to make another demonstration.
36:03That's what commercials do, right?
36:04Of course,
36:05not even in the bookstore
36:06because I risk
36:07Don Salvador discovering me
36:08and then I won't sell
36:09a corset,
36:10a book, or anything.
36:11Thank goodness
36:12you have me
36:13to cheer you up, friend.
36:14And you too, Trini.
36:16I've brought you a gift.
36:17The gift is that
36:18you're going to leave us alone
36:19to enjoy the night
36:20all alone.
36:23I have the gift out there
36:24because I couldn't put it in
36:25without you seeing it
36:26ahead of time.
36:27I'll go get it.
36:29It won't be the portrait
36:30of your grandmother, will it?
36:31Of course not.
36:37No!
36:40Oh!
36:41A moises de mimbre!
36:43But...
36:45Not even a single gel!
36:46Oh, yes!
36:49The first two gifts
36:50the baby gets
36:51because you haven't
36:52received any others, have you?
36:53What else is he going to get
36:54if you're the only one
36:55who knows?
36:56Then it's clear.
36:59You'll 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.
37:08Or 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, you can name him
37:18Miguel II and that's it.
37:19But I imagined it and...
37:21Well, I got excited.
37:23Sorry.
37:24I didn't know you two
37:25were so sensitive about this.
37:26You're a great friend.
37:28I'm going to get some liqueur
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 starting to notice
37:43the pregnancy.
37:44And that living room
37:45is full of women
37:46who don't care about anything.
37:47And still, you're the only one
37:48who knows.
37:49For a short time, Miguel.
37:50You have to convince her.
37:51I tried yesterday,
37:52but she didn't listen to me.
37:54Well, it's just that
37:55our genes don't work.
37:56Cañete, you know that my mother
37:57worked until the day
37:58she gave birth to me.
37:59And also, literally,
38:00because she was in front
38:01of the fireplace
38:02and I almost burned myself
38:03when I saw this scar.
38:04Stop being silly, Miguel.
38:05This is serious.
38:07Trini, being pregnant,
38:09shouldn't be working.
38:11I can imagine her there.
38:13The poor thing.
38:15But...
38:23I know it's not time,
38:24but there was no other time
38:25to meet with my accountant.
38:27You see,
38:28that's how demanding
38:29a businessman's life is.
38:31Well, you accompany the bulls
38:32and I accompany you
38:33back to the office.
38:34You have to be grateful.
38:36I hope I haven't been
38:37disappointed.
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.
38:47Oops, sorry.
38:48No, there were some things
38:49to be said.
38:50I have the feeling
38:51that you rushed
38:52the inauguration.
38:54Well, I don't know.
38:55The truth is that I'm not as...
38:58as understood as you are.
39:00It seemed to me
39:01that the square was a dream,
39:02so big
39:03and with those beautiful arches.
39:06You can be that now.
39:07Do you know
39:08how much
39:09that bullfight 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 these amounts.
39:19What impressed me
39:20was the work
39:21of Diego Fortuna.
39:22He had the responsibility
39:23of leading the first bull
39:24in the history of sales
39:27and his pulse
39:28has never shaken.
39:30And what was that?
39:31A bull from the cattle
39:32of the Domecques.
39:34Wow.
39:36You never cease
39:37to surprise me
39:38with your knowledge,
39:39Mrs. Lázara.
39:40I would never have thought
39:41that I would meet you.
39:42Well, it's true
39:43that I like bullfighting.
39:45But
39:46I'm learning a lot
39:47from your arm.
39:48You know so many details
39:49and so many facts
39:50about bullfighting.
39:53Thank you very much
39:54for insisting
39:55that I go to the inauguration.
39:57I would never have forgiven myself
39:58for not being present
40:00in this
40:01historical event.
40:04The one who is grateful
40:05is me.
40:06It is a pleasure
40:07to spend time with you.
40:09It is to be here
40:10in the office
40:11working,
40:12but today in the square
40:15it has been a perfect afternoon,
40:16Mr. Fermin.
40:23Clarita has just eaten
40:25and you have seen
40:26the answers she has given me.
40:27And why didn't you listen to them
40:28before?
40:31Don't you think
40:32you are worrying too much?
40:34Look, Clarita
40:35is in an age of change
40:37and if you add to that
40:38everything that has happened to her,
40:39she becomes an orphan,
40:40her siblings live far away,
40:41the accident...
40:43There are many things.
40:45Yes, but even the teacher
40:46has not paid attention to me.
40:49Well, I don't know.
40:50I hope you are right.
40:56Let's trust.
40:59Oh, by the way,
41:00before I forget,
41:02what do we know about Inés?
41:04Well, at the moment
41:05we don't know the extent
41:06of her injury,
41:08but in the meantime
41:09I have asked Jacob
41:10to help me
41:12investigate what is happening
41:13in Madrid Cabaret.
41:15And that?
41:17Do you think
41:18something is happening
41:19behind your back?
41:20I'm afraid César
41:21is hiding something from me.
41:23I'm not sure, but
41:25maybe everything
41:26that is happening
41:28is making me paranoid.
41:29No,
41:30it's not being paranoid,
41:31it's being attentive.
41:32You are doing well.
41:35You don't know how lucky
41:36I am to talk to you.
41:39You always
41:40understand me
41:42and we are
41:43in the same tune.
41:47I see you don't regret
41:48marrying me.
41:51It's the best
41:52I've ever done in my life.
41:54You make me very happy.
41:57And you to me.
42:02My son has to see you.
42:03Open the door.
42:04We know you are at home.
42:06Come in.
42:15Inspector,
42:16come in, please.
42:18Here is the order
42:19and the judge's request.
42:21Start the search.
42:22You know what to look for.
42:24No,
42:25I don't want to bother you anymore.
42:26The accountant is about to arrive
42:28and you are late.
42:29And excuse me, please,
42:30I would like to accompany you to your house,
42:32but
42:33I have to...
42:34No, please,
42:35don't worry.
42:37I'll let you work.
42:38Yes.
42:40Well,
42:41I'm a little nervous.
42:42I don't know
42:43what to do.
42:44I don't know
42:45what to do.
42:46I don't know
42:47what to do.
42:48I don't know
42:49what to do.
42:50I don't know
42:51what to do.
42:52Well,
42:53I'm a little ashamed
42:54to talk about this,
42:55but
42:56I don't know if you know
42:57that when I was working
42:58in the Madrid-Paris warehouses,
42:59I was the one
43:00in charge
43:01of recommending the jewels
43:02to the wife
43:03of Master Belmonte,
43:04Mrs. Julia.
43:06Wow,
43:07you are
43:08a box of surprises.
43:12I really enjoyed
43:13spending a few hours with you
43:14outside
43:15this room.
43:17I say the same thing.
43:18We spent many hours here
43:19working side by side,
43:20but
43:22I don't know.
43:23I think that this afternoon
43:24I was able to get to know you better.
43:25Well,
43:26I hope that what you have discovered
43:28doesn't disappoint you.
43:30Don Fermin,
43:31you could never
43:32disappoint any woman.
43:33Never.
43:37Excuse me,
43:38I've talked too much.
43:40No,
43:42don't worry.
43:43The good always lasts a little.
43:44Have a good night,
43:45Don Fermin.
43:46Good night.
43:48I'm going to hug you.
43:53Good night.
44:04I know it's the costume
44:05of my first wedding,
44:06of Ramón's wedding,
44:07but
44:09I think the important thing
44:10is what one feels,
44:12not what one wears.
44:14And,
44:15well,
44:16I also think
44:17that we will save a lot of money,
44:19which is not bad at all.
44:21What?
44:22Antonia, can I come in?
44:23Yes, come in.
44:24It's open.
44:27Hi, honey.
44:28Hi.
44:30Marta and I have already had dinner,
44:31but
44:33I've left you here
44:34your dinner.
44:35Sit down, please.
44:36Thank you.
44:38I wanted to talk to you
44:39about the preparations
44:40we have left for the wedding.
44:42Well,
44:43we still have to agree
44:45where we are going to make the invitation,
44:46but what really worries me
44:47are
44:48our costumes.
44:50I guess
44:51you will wear
44:52the Sunday costume,
44:53which suits you
44:54perfectly,
44:55you are going to be very handsome.
44:56And it would be good
44:57if Marta saw it
44:58in case we have to make
44:59some arrangement.
45:00And,
45:01and as for my costume,
45:04what's wrong?
45:08It's just that
45:09about the bakery,
45:13it's complicated for us.
45:14How is it complicated?
45:15What do you mean?
45:18Yes, because there is another
45:19who wants the transfer.
45:21And he will have to
45:22solve it with a push.
45:24A push?
45:26If he makes the best offer,
45:27he gets it.
45:29We have to increase
45:30our offer, Antonia.
45:33Increase how much?
45:34How much are we talking about?
45:36Everything we can.
45:38Everything.
45:40Because, of course,
45:41if he puts more,
45:42he gets it.
45:44All our money?
45:47But, Pedro,
45:49maybe we have to
45:50think about it
45:51because he is
45:52in that street,
45:53in the bakery,
45:54but maybe it's not
45:55a good deal, right?
45:56I have no doubt about this, Antonia,
45:57but
45:59with a push like that,
46:00it's all or nothing.
46:03Well, it gives a little vertigo,
46:04the truth.
46:07I'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
46:15tomorrow, okay?
46:16Yes.
46:18What were you telling me
46:19about the suits?
46:21No, nothing, nothing.
46:23Nothing.
46:25Eat quietly.
46:30Thank you.
46:35Are they going to take
46:36Inigo back to the dungeon?
46:38No.
46:39Of course not.
46:41Hey, Clarita,
46:42why don't you go to bed
46:43and go to bed?
46:44And now I'll tell you, okay?
46:45Come on.
46:48Come on.
47:00Can you tell me
47:01what 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.
47:07At this hour?
47:08They come to my house?
47:10It's all explained
47:11in the order.
47:12If it's okay to read it...
47:13Inspector,
47:14I owe you an explanation.
47:15Very well.
47:16Maybe Mr. Peña
47:17will understand.
47:18But the investigation
47:19has taken an 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, exactly.
47:30Does it ring a bell?
47:41Really?
47:42Are they looking for that
47:43in my house?
47:44A jacket
47:45that lacks a button,
47:46indeed.
47:47And they still consider me
47:48suspicious
47:49of 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 afraid
47:59this jacket is yours.
48:02Well, of course it's mine.
48:04Well, it lacks a button.
48:06See?
48:17I'm sorry to tell you
48:18that the button found
48:19in the river
48:20is exactly the same
48:21as the others in the jacket.
48:23I think you're going to have
48:24to give me a lot of explanations.
48:26But a lot of explanations.
48:38Yes, yes.
48:39Tell me, Inspector.
48:43What?
48:44How is it possible?
48:46We must be prepared.
48:47The police can show up
48:48at any moment
48:49and arrest me.
48:50No.
48:51That's not going to happen.
48:55You should talk to him.
48:56No, Pietro.
48:57I can't do that.
48:58If I talk to him,
48:59I'd be betraying Antonia.
49:00That's even worse.
49:02Back home, Pietro.
49:04Wait until you have
49:05the transfer of the bakery
49:06well secured.
49:08And in the meantime,
49:09how do I look him in the eye?
49:11I'm out of breath, my love.
49:12Come on.
49:13Take your pills.
49:14If you don't, I'll eat them.
49:15Come on.
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 also leaving
49:23La Moderna, Mr. Fermin.
49:25What did you say?
49:26Yes, I'm sorry.
49:27But Antonia and I
49:28are 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
49:34to 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 little by little.
49:44Well, I'm Agustín.
49:46Laura.
49:47Although everyone calls me Laurita.
49:49I mean, we have to time
49:50the exact time
49:51each client is.
49:52Like all changes and innovations,
49:54this is going to generate
49:56some resistance.
49:57But nothing happens.
49:58It's normal, natural,
50:00and to a certain extent,
50:01desirable.
50:02But, well, this woman,
50:03I don't know what she's thinking.
50:04This is an elegant place.
50:06And you can't put
50:07customers in a hurry like that.
50:08Listen,
50:09we're not going to listen to him.
50:11Is the newspaper director
50:12a friend of yours?
50:14Call him.
50:15Call him for what?
50:16What do you mean, for what, Fabio?
50:18To 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?
50:28You can tell me, woman.
50:29What confidence.
50:31I don't like the tone
50:32you're talking to me in.
50:33I've already told you
50:34I'm here for a business interest.
50:36Nothing else.
50:38But so much suspicion
50:39makes me a little suspicious.
50:41You're going to laugh,
50:42but the matter of Antonia and Pietro
50:44has moved me a little.
50:46I don't know.
50:47I thought it was very nice
50:48that gesture he made
50:49when he sacrificed everything
50:50for his future wife.
50:51Yeah, I 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 notifying me.
51:03A little strange, isn't it?
51:05Well, the police should
51:06inform themselves 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?
51:15The button I sewed
51:16was when I was working
51:17with your aunt
51:18with Chitán at the workshop.
51:19I've come to ask you
51:22not to get close to my niece again.
51:25I love her with all my heart.
51:26I would never have wanted
51:27to hurt her.
51:28Whether you want to or not,
51:29it doesn't matter.
51:31You bring her problems.
51:33So stay away from her.