Salón de té La Moderna - Episodio 192
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Short filmTranscript
00:00Billionaire's diary
00:11Smells good!
00:15It smells better in here now that I look at it.
00:19I didn't want to wake you up this early in the morning
00:21because I arrived late.
00:24Hey, are you OK?
00:27You don't look worried.
00:29Yes, yes, I'm going to talk to Mr. Fermin today.
00:36I'm going to tell him my idea of organizing activities and events in the upper part of La Moderna.
00:41Well, I just have to think of the right words to sell the idea better.
00:46I'm very happy that you continue with your idea.
00:50Let's see if Mr. Fermin agrees.
00:53Of course you will, my love. With that little bit you have, you can convince whoever you want.
00:59But is that really all that worries you?
01:03Yes, stop worrying about me.
01:05And let's focus on you, you have enough with what you have.
01:08Well, if you mean my new situation as a married man,
01:12the truth is that I would like to tell you that you don't have to worry.
01:24Íñigo Peñalvera speaking.
01:26Yes, it's Peris, my lawyer.
01:32Yes, I'm glad, finally good news.
01:36Yes, yes, let's do it that way, of course.
01:39Have a nice day.
01:41Goodbye.
01:42Goodbye.
01:43Goodbye.
01:51Well, it seems that the police are stuck.
01:56And there is no action in progress.
01:58What does that mean?
02:00Well, they're going to leave me alone.
02:02At least for a while.
02:06That's good.
02:07Yes.
02:08That's good because we have to regain peace in our lives.
02:11Yes, we and also in Madrid, Cabaret, of course.
02:17How are the preparations going?
02:19There is little left.
02:21Belmonte and La Piquer have already told me that they will not attend.
02:24But I understand it because they are out of town.
02:28And many others have dedicated themselves to lying to me.
02:31To making excuses for me not to come to the party.
02:35Love, trust.
02:38I'm sure they'll come to support you in the end.
02:47I'm going to get some air.
03:09I see that you are reviewing the painting of the tables.
03:13Yes.
03:14Well, as you asked me.
03:16If you allow me.
03:20Excuse me.
03:25And well?
03:27Well, yes.
03:28Yes, you were right.
03:30Many tables need a painting hand.
03:33If you allow me.
03:38Excuse me, Mrs. Lazara, but you have me confused.
03:44Sorry.
03:45Well, don't worry.
03:47I'll make you a report and I'll take it to the office later.
03:50No, that's not it.
03:52It's just that after you made me know that ...
03:56What made me know.
03:58What you say you feel for me.
04:01I don't know how to behave with you.
04:03Please.
04:04Don Fermín, don't remind me of that shameful mistake.
04:07It was inappropriate, let's forget it.
04:09But how can I forget it?
04:11I have the feeling that I'm running away at all times.
04:13No, no, no.
04:14I'm not chasing you.
04:16What happens is that I'm trying to amend my mistake.
04:20I'm trying to return to normality.
04:23To regain that good harmony between you and me.
04:26Always in the field of work.
04:28But I see that I'm not getting it.
04:30Excuse me, Mrs. Lazara.
04:32I didn't want you to feel bad either.
04:35Don Fermín, if you have to apologize ...
04:37You're right.
04:38Let's normalize the situation.
04:40We are looking at the tables that need painting.
04:44And according to you, what are the ones that need a second coat of paint?
04:49That one.
04:58Yes, the legs are damaged.
05:02Any more?
05:03Yes.
05:04This one here.
05:07Here.
05:16Here, if you see there, you need paint.
05:19Yes, yes, you're right.
05:22Again, yes.
05:23It needs ...
05:29You have very good eyes, Mrs. Lazara.
05:31Yes.
05:32Well, I'm just trying to do my job well.
05:34And with you it's really easy.
05:36We understand each other so well, Don Fermín.
05:39Sorry, no, I'm sorry.
05:41I didn't mean to insult you.
05:45No, no, no.
05:46Look, I understand you perfectly, Mrs. Lazara.
05:49We are talking about the tables that need painting.
05:51It's not that, you said it yourself.
05:53We have to normalize the situation.
05:56Thanks to that, you are very understanding.
05:59So I guess I have to wait for you to finish the day.
06:05Do you have to wait for me to finish the day?
06:08For what?
06:09For what?
06:10Oh, sorry.
06:11No, I mean ...
06:12I mean, I'll wait for you to give me the report with the total of tables that need to be painted.
06:19The report?
06:20Of course, I'll take it to your office.
06:24If you allow me.
06:29Thank you.
06:40Here, have some breakfast.
06:42I'm not hungry, Laurita.
06:44Come on, Inés, you haven't eaten anything these days.
06:47You have to eat to face the day well.
06:49But what happens, now I can't decide for myself?
06:52Nor when to eat, nor when to go to the doctor, nor anything.
06:54We are dealing with the same thing again.
06:56But do you think it's normal for the guy to schedule a date with the doctor behind my back?
07:00Inés, you say it as if the guy had scheduled a date with any doctor.
07:04And no, he has done it with an eminence, with the best otorhinolaryngologist.
07:09Who also visits many singers, doesn't he?
07:11Well, very good for them, but I'm not going to go.
07:14Inés, don't you think you're having a bit of a childish attitude?
07:18Well, if you treat me like a girl, I'll behave as such.
07:22Okay, let's talk like adults.
07:26Could it be that what happens to you is that you're afraid and he tells you that you can't sing again?
07:34Well, yes.
07:36Yes, I'm scared to death, Laurita.
07:41And if the doctor tells me that I'm not going to recover,
07:43and that I'm going to stay like this forever.
07:46But that's the worst part.
07:49Yeah, but it could happen, right?
07:52My life would change completely and after everything that has happened to me with César, well ...
07:58We're not talking about that, huh?
08:00We're talking about you.
08:03Yeah, well, that's why, Laurita, right now I don't ...
08:06I don't have the strength to face a negative diagnosis.
08:10First of all, the diagnosis doesn't have to be negative.
08:13And if it were, I'm sorry to be direct, but the sooner you know it, the better.
08:19Wouldn't you be the first to reinvent yourself?
08:22Reinvent myself by doing what?
08:24Well, I don't know, you'll find something you like.
08:27Besides, you're not alone. You have me and the guy.
08:33I'm going.
08:36Hello?
08:41Yes?
08:45Inés, it's the guy.
09:00Dude ...
09:02No, no ...
09:04You don't have to come with me to the consultation.
09:07No, really, it's not an excuse.
09:10Yes, I'll go, but I'll go alone.
09:13Okay, yes.
09:14Yes, thanks for understanding.
09:17Goodbye.
09:20Are you sure you're going alone?
09:22Yes, very sure.
09:23I'm going.
09:30And how are the preparations for the duet?
09:32Quiet, stop!
09:33What have I told you about sticking the thread when I'm not present?
09:37What are you waiting for me?
09:39Trini, are you eating for two?
09:41I'm hungry.
09:42Too much, I would say.
09:44Come on, sit down.
09:46Sit down and learn.
09:48Getting up to date on your partner's affairs is also part of the job.
09:53Well, while I'm chatting, I don't have any orders.
09:58Now, Antonia.
09:59What?
10:00How's the wedding going?
10:02Well, it's going slow, but it's getting closer every day.
10:05Pietro is waiting to talk to his son, who wants him to be the godfather.
10:09Ah, Giancarlo.
10:10With what he pretends to beg.
10:12I want to meet him.
10:13And me.
10:14Let's see if you're lucky and I can talk to him today.
10:17Well, how's the guest thing going?
10:19Oh, do I have to take the dress out of the closet, yes or no?
10:22You say yes.
10:23Because since I fixed it for Matilde's wedding, well, to be able to take advantage of it.
10:27Well, of course, women.
10:28Take it out.
10:29You're invited.
10:30Well, you're all there, of course.
10:31Of course.
10:32And I've also sent some telegrams to some of my cousins.
10:36But I still don't have an answer, of course, very soon.
10:38Oh, Antonia.
10:39From your relationship with Pietro, from the most brief, to be preparing the wedding for the race.
10:45That's it.
10:48That's it, Trini.
10:49You've been silent.
10:52We have to speed up the wedding, right?
10:53And forget about the problems.
10:55Well, what, Antonia?
10:56Do you already have the bride's dress?
10:58Well, some idea, yes, I have, yes.
11:00Some idea.
11:01But if that's the first thing a bride has to think about, for God's sake.
11:04Oh, I don't want to overwhelm them.
11:05But it's just that, at this point, you would have to have already thought about the flowers you want to put on, the bouquets bought.
11:11I know.
11:12Well, thank goodness you didn't want to overwhelm me.
11:14Well, overwhelm yourself, woman.
11:15Because, come on, at your age, you don't go home anymore.
11:17And you still don't have the godparents.
11:19No, he does have godparents.
11:21Giancarlo.
11:23All he needs is the godmother.
11:24Well, look, I have that too.
11:26Are you going to be Esperanza?
11:28Or not?
11:31Me?
11:46Hello.
11:48Excuse me, you are Celia Silva, right?
11:52Yes, it's me.
11:53Perfect, let me introduce myself.
11:55I am Íñigo.
11:56I know who you are perfectly.
11:58Unfortunately, your name appears a lot in the newspapers.
12:02Well, then you don't know who I am.
12:04You know what they say about me, not everything is true.
12:08Among other things, they say that you are involved in the death of Doña Carla.
12:12Is it true or not?
12:13Well, the press assures many things.
12:16Look, even years ago, a newspaper said that there were beings living on the moon.
12:20And you believe that?
12:21Because it came out in the newspapers, I can assure you.
12:24But if a fantasy like that comes out on the cover,
12:27who tells us that other things don't?
12:32But well, I haven't come here to talk about journalistic rigor.
12:35If you'll allow me, I'll explain the reason for my visit.
12:37I'm listening.
12:40Look, tomorrow I want to reopen Madrid Cabaret.
12:44And, as you know, my business has also come out in the press.
12:49Because of a shooting there was, yes.
12:51Exactly.
12:52I need everyone to forget about that happy incident
12:55and see Madrid Cabaret as it is.
12:57A safe place where everyone can have a good time.
13:00That's why I want to do that party tomorrow.
13:02And I want you to come.
13:04That's why I want to do that party tomorrow.
13:06And I need your help.
13:09Don't you want me to make money?
13:11Because I'm telling you, singing isn't my thing.
13:13No, of course, I'm not going to ask you to sing.
13:16What I need is that you help me spread the event.
13:20Don Fermin has told me very well about you
13:22and that you have very good contacts in the press
13:25and I'm sure that you will be heard.
13:30I would pay you very well, I can assure you.
13:34Thank you.
13:40I'm sorry, but I'm not going to do it.
13:50Look, I know we don't know each other,
13:53but if your requests to work with me are due
13:56to that murder of Mrs. Carlos,
13:59I can tell you that I have nothing to do with that.
14:04Well, thank you very much for attending me.
14:06Have a nice day.
14:18Or if I change my mind.
14:29Oh, Marta.
14:31Esperanza, for God's sake.
14:32I thought you were going to get excited and dance.
14:34Oh, for God's sake.
14:39You have it on your dress.
14:40In your wedding dress, you're finally going to take it out for a walk.
14:42Oh, Trini.
14:43I've never been a godmother.
14:45Never.
14:47Not even in the village they chose me to go out to the dance.
14:50Oh, what courage.
14:51Well, as long as I don't dance at the altar.
14:53Oh, don't dance.
14:54But I had kissed her.
14:58And what are you going to do after the wedding?
15:00Where are you going to live?
15:02Well, we only have that pending yet.
15:04Because my house is small and Pietro's is even smaller.
15:07So, well, we'll see.
15:11Well, Esperanza, I'm going to go get the cleaning products.
15:15I already asked Mrs. Teresa for the money.
15:18Yes, go, go.
15:21It's just that a broken hand.
15:23With a broken face.
15:25I'm also going to the altar.
15:32What's wrong with Marta?
15:34Yes, yes.
15:35Don't tell me anything, because I've seen how they looked at each other.
15:38And a godmother can't lie to her bride.
15:41Tell me.
15:50Inés.
15:51Cesar.
15:53Cesar, are you okay?
15:54I can't believe it, but are you okay?
15:56Did you receive the letter I wrote you?
15:58Yes, yes, of course, of course I received it.
16:00Well, then you already know everything you need to know.
16:03The Marseillais clan was looking for me.
16:05Because I knew they were going to find out.
16:06That's why they came to Madrid Cabaret.
16:08Cesar, my God, where are you?
16:10You're hurt.
16:11I'm fine.
16:12No, you're not okay.
16:13You're not okay.
16:14I've made many friends here.
16:15Among them, a very discreet doctor who did my surgeries without asking any questions.
16:19But Cesar, why didn't you tell me?
16:21My God, I was very worried about you.
16:24Inés, I've been watching you to find the best time to approach you.
16:27But it was impossible, you were always accompanied.
16:30In any case, I've already hurt you too much.
16:32I didn't want to leave without telling you that I love you.
16:35Go.
16:36Don't leave me, Cesar.
16:37Don't leave me, please.
16:43There's no way to be the owner's son.
16:52Good morning, Alvita.
16:55I don't know if they teach this at the university,
16:56but when the big needle is at twelve and the little one at eleven,
16:59that means exactly that...
17:01It's very early.
17:03Horribly early.
17:06You're right, Miguel.
17:07I'll talk to my father.
17:08It's a torture that this bookshop will open so soon.
17:11Take it off, take it off, take it off.
17:12Don't get your father involved in this matter.
17:13We're not going to have a problem, you and me.
17:16May I know why you're so late?
17:19I've run into the old lady who came back very loaded from the market
17:23and I saw myself in the obligation to help her.
17:25And of course, I also saw myself in the obligation
17:27to accept the breakfast that the old lady had offered me.
17:29The Chinese stories section is on that shelf, sir.
17:33Look, Salvita, who studies law,
17:35lies are not good for a lawyer.
17:38May I know where you come from?
17:40The truth.
17:41You've already told me the lies.
17:43From a hangover to my friends from the tuna.
17:47Ah, very good.
17:48So you come to work without sleeping.
17:50And without breakfast.
17:52I'm going to go to the living room to have something, okay?
17:54If you'll excuse me.
17:55Don't move!
17:57Your father doesn't go to that living room.
17:59I was going to see you there in hours of work.
18:02Do you see this?
18:03It's a rag.
18:04And it's used to clean.
18:06And these are books.
18:07And you have to take the dust out one by one.
18:10And the exhibitors too.
18:11You have to empty them, scrub them and fill them again.
18:13Are you sure you need to clean all the books?
18:17I see them well like this.
18:18Besides, they love to have a little dust.
18:22Yeah, sure.
18:23And with the hands of the clients, it takes away all the magic.
18:25So...
18:26I'm going to clean.
18:32New piece.
18:49It would be better if your uncle didn't see me with you.
18:51No, don't go, please.
18:52Don't leave me like this.
18:53Tomorrow afternoon in the park.
18:54I have something very important to tell you.
18:58Inés!
19:00Inés!
19:01What a coincidence!
19:03Darling.
19:06Is everything okay, darling?
19:07Everything's fine, everything's fine.
19:08Are you sure?
19:09I'm sure.
19:10Because it doesn't seem like it.
19:11And you know it's very difficult to fool your uncle Fermin.
19:15You're nervous, aren't you?
19:16Because you're going to the specialist.
19:18Uncle, what are you doing here?
19:20And don't tell me this meeting is a coincidence.
19:22Because it isn't.
19:23No, no.
19:24It's not a coincidence.
19:25And what do you want me to do?
19:27I know you prefer to go alone to the consultation, but...
19:30But I'm not calm if I let you go through all this alone.
19:35Uncle, please, can you hug me?
19:37Please.
19:39Of course, darling.
19:40Come here.
19:43Everything will be fine.
19:45You'll see how the doctor says that everything will be solved.
19:47Because everything has a solution, darling.
19:49Come on.
20:19Come on.
20:49Come on.
21:11Have you hurt yourself, miss?
21:12Can you tell me who left all these books here?
21:14I almost killed myself.
21:15I see that you have the same version of the books as I do.
21:20You're very busy.
21:22Take a break, woman.
21:23Come on, I'll help you get up.
21:26I can get up on my own.
21:27You've done enough.
21:28I can't do it anymore.
21:30You have beautiful eyes, did you know that?
21:33It's a pity that they don't help you to see what you have in front of you.
21:37That's a good one.
21:38On top of you almost killing me, you're laughing at me.
21:40What's that noise?
21:41What happened here?
21:42Mom, it seems that you have expanded the bookstore.
21:44Now to buy a book you have to throw yourself to the ground.
21:47Forgive the boy.
21:48It's his first day.
21:49And he still doesn't understand what his job is,
21:51or what time to get there, or anything.
21:54Well, tell him that I know.
21:55He's going to put some commandments that will make everything very clear to him.
21:58If you know those commandments, could you show them to me?
22:03What do you think this afternoon, while we have a drink?
22:06I'm going to help you get organized, Miguel.
22:08You're very well organized, Miguel.
22:10On top of being funny and charming, you're a smart guy.
22:13Don't get angry, woman.
22:16My name is Salvador.
22:17But you can call me Salvita.
22:20And you, what's your name?
22:21You don't care if they call me that.
22:25For God's sake, half of the 98th generation on the floor,
22:28and I'm already saying that these are not good times to know how to command.
22:32Pick up all this right now.
22:33And don't hang the jacket there.
22:39Celia.
22:41I'm having a great time.
22:42My uncle has rejected all my proposal.
22:45About the Tertulias?
22:46Yes.
22:47I wanted to take advantage of your contacts
22:49to bring the most interesting intellectuals to our Tertulias.
22:52A perfect idea.
22:54And what's the problem?
22:55Well, I've mentioned to him the option of bringing controversial personalities
22:58to attract the press.
23:00I see.
23:01And what controversial characters are we talking about?
23:04Alfonso Vidal and Planas, or Bahia and Clan, for example.
23:06But why?
23:08Well, because he thinks it's not good for us to be associated with people like that.
23:15Look.
23:21What's wrong with you? Are you okay?
23:27Inigo Peñalver has been here before.
23:30He also wanted to take advantage of my contacts in the press
23:33to promote a party he wants to have in Madrid every time.
23:38But I told him no.
23:40Why?
23:42Because he doesn't want to have anything to do with a murderer.
23:45Celia.
23:46I don't know Inigo very well, and I don't know what you've read,
23:50but I assure you that my uncle and I are sure he's not a murderer.
23:53And Inés doesn't either.
23:54She always talks wonderful things about him as a boss.
23:56Okay, but being a good boss doesn't mean you can't kill.
24:00Look.
24:01Do you remember a few months ago that they put some bombs in La Moderna?
24:04Yes.
24:05Well, if it weren't for Inigo and Matilde, who risked their lives and deactivated them,
24:09we wouldn't be here today.
24:12I didn't know any of that.
24:13Yeah. It seems that the newspapers have also forgotten, I don't know.
24:16Maybe they sell more a headline of a murderer than a hero.
24:20Don't listen to what those scoundrels say.
24:23Celia.
24:24If Inigo asked me for help, I would give it to him.
24:28And now I'm going to see how everything goes.
24:30Because we never finish this step.
25:01What a day full of management we have.
25:05Yes.
25:06Then I will send the lawyers of the Morcuende group a copy of the rent contracts of the apartments and premises in Seville.
25:13I want them to review the clauses and the conditions for a renovation.
25:20I thank you so much for helping me with these matters.
25:23As soon as I start reading those papers, all the letters get mixed up and I don't understand anything I read.
25:29Well, don't exaggerate.
25:31And it's not a nuisance.
25:32If I tell you the truth, it even entertains me.
25:35You manage everything as you see fit.
25:38I just ask you to send me a copy of all the contracts.
25:41Maybe, by force of reading them, I'll start to understand them.
25:46Okay, I'll send you a copy and I'll keep you informed.
25:52How simple is everything by your side.
25:54You can't imagine how much I need you.
25:57I couldn't go through that trance if I wasn't with you.
26:02I know these are very delicate moments.
26:04That's why I want to be aware of you and help you in everything I can.
26:07And you do it.
26:09Reading those contracts for me, providing me with your help.
26:14What would I do without you?
26:15No, no, no, no, no, no.
26:16What would I do without you?
26:18And don't worry, really.
26:20I assume with great pleasure, and in your name, the management of the affairs of the Morcuende company.
26:26And all the time you think necessary, too.
26:29You'll say I don't know what to do to keep you by my side, right?
26:33Well, not that I need excuses.
26:35And it doesn't cost me anything, I insist.
26:37I understand that you are not familiar with what it means to manage a company.
26:42Because...
26:44Besides...
26:47Besides what?
26:50I don't think it's easy for you to sit in that office.
26:54Handling matters that Carla was in charge of until recently.
26:59It has to be very painful.
27:02You don't know it well.
27:04You have described perfectly how I feel.
27:07How it is noticeable that you know me.
27:10Thinking of Carla breaks my heart.
27:18Yes?
27:20Do you give permission, Mr. Fermin?
27:22Wow, Mrs. de Peñalver.
27:24Come in, Matilde, come in.
27:27You know that you are always welcome here.
27:30I appreciate that you allow me to steal a few minutes of your time.
27:32Well, you have something to propose to me and I am delighted to receive it.
27:35Sit down, please.
27:37What I regret is not having you here.
27:40Every day in the living room, with all the energy you transmit.
27:43Related to that, they have already informed me that the rule of married women no longer exists.
27:49I'm glad I finally made that decision.
27:51Yes, I'm glad too.
27:52What I'm not glad about is not having seen it so clearly much earlier, when you were still working here with us.
27:57Well, I know that at that moment I began to value it.
28:00And that is enough for me.
28:01Times change.
28:02And if you don't want to stay behind, you have to get on the train as soon as possible.
28:06Yes.
28:08Well, Matilde, tell me.
28:09I am anxious to know what you want to propose to me.
28:14What would it seem to you, Mr. Fermin, if I were in charge of organizing events and events in the living room?
28:21Events and events? What kind?
28:24Meetings between businessmen.
28:26It would be at the top of the living room.
28:28Taking advantage of the fairs and business conventions that are organized in the city.
28:34I must admit that at some point I considered organizing something similar, but I ruled it out.
28:41In fact, not long ago we organized a cultural event at the top floor, but we decided not to continue with it.
28:48Yes, but the approach I propose to you is different.
28:52It would be aimed exclusively at the business sector.
28:57Okay.
28:58Give me some time to think about it.
29:00And I'll give you an answer soon, I assure you.
29:03Very well.
29:04Thank you, Mr. Fermin.
29:07Matilde, by the way, I don't know if your husband has told you that I was at his house yesterday.
29:13Yes, he told me something.
29:15Something he told me.
29:16Yes, he explained to me how bad it is with the pressure of the press and the police.
29:20And of course, that they accuse him of murder.
29:22In the eyes of everyone, it must be hard.
29:24Yes, it is. Of course.
29:27Even so, I saw it with great interest.
29:31And you, Matilde?
29:33How are you doing?
29:35Well, it's being painful and complicated.
29:40I'm not going to lie to you, the pressure affects me.
29:42But I know who I'm married to.
29:47And I know what Ñigo is capable of and what he is not.
29:52I'm very happy that we are taking a walk because there is something I want to tell you.
29:57I finally have a plan.
29:59Let's see, what lies are you talking about now?
30:01Why should we lie?
30:02Because that's what we've been doing for months.
30:05Well, with this plan we shouldn't lie.
30:07With this plan, no lies.
30:08Well, at first we would have to say one thing or another.
30:11But, well, then not anymore.
30:14Because we are going to start my plan.
30:16The Cupid plan.
30:19Don't tell me we have to make someone else fall in love.
30:21Because if that's the case, I'll leave the books, I'll leave the cards and we'll open a marriage agency.
30:26No, my love, we shouldn't make anyone fall in love.
30:28Only ourselves.
30:29But I'm already in love with you.
30:32Or have you stopped loving me?
30:34Well, I don't know, I'm starting to think about it.
30:36If you don't listen to me, do you want to listen to my plan or not?
30:38Yes, of course.
30:40For the Cupid plan to work, we have to act coordinated.
30:45And if everything goes well, it doesn't have to fail.
30:48It will fail. You'll see, all our plans fail.
30:51The Cupid plan consists of three phases.
30:53I don't know, I already said how easy this was going to be for me.
30:56For the Cupid plan to work, we have to go through the phases one by one.
31:00And we can't move on to the next phase without having completed the previous one.
31:03But can you tell me where all this madness comes from?
31:06Well, it occurred to me today while I was listening to Marta.
31:09Ah, very good. We are going to base our entire future on what that girl says.
31:12Exactly.
31:14And do you think this Cupid plan is going to work out?
31:17I don't know.
31:18Can you listen to me? Do you want to listen to the plan, yes or no?
31:20Yes, yes.
31:22First phase of the Cupid plan.
31:24Falling in love.
31:26We have to pretend that we are in love and that we are committed in record time.
31:33Let's go.
31:41So, how did Antonia and Pietro do? Did it work?
31:44Well, in record time it was about their commitment, because about their falling in love,
31:48you knew years ago that Pietro was flirting with Antonia.
31:51Step number two of the Cupid plan.
31:53The fake wedding.
31:56The fake wedding?
31:57Yes.
31:58What if we repeat ours?
31:59Do you have money to repeat ours?
32:01No.
32:03No.
32:14Step number three of the Cupid plan.
32:16We are going to say that we are going to be parents.
32:24And that's it.
32:25All a success. Cupid plan. All a success.
32:27Isn't it easy?
32:28Yes, yes. Seen that way, it seems easy.
32:30Let's see how we do it.
32:32Well, of course, with the first phase, falling in love, you know.
32:35And if not, well, look, if we need help, Cañete can be our accomplice.
32:40Ah, of course. Yes.
32:41In that of lying, we have trained Cañete well.
32:44The only thing we have to do, love, is pretend that Cupid has done his thing
32:48and that we have found love where no one expected it.
32:51I fall in love with you, miss, once and for all.
33:02CUPID PLAN
33:29Isn't Miguel here?
33:32He hasn't come back yet. He's gone to eat.
33:36Talk to me about you, kid.
33:38I think you and I are going to see each other a lot more from now on.
33:42Aren't you Don Salvador's son?
33:44The original and intransferable, the same one who wears pants?
33:47Salvita.
33:48Don't we know each other?
33:50Yes, no, no and yes.
33:52Well, we are getting to know each other now.
33:54The truth is that I have seen you in the gallery and in the tea room,
33:57always accompanying your father.
33:59Well, I am the head of the waiters on duty.
34:02Well, at the moment I am a temporary waiter,
34:04but my promotion is imminent.
34:06Elias, I introduce myself, here to always serve you as a manager.
34:10Well, I figured Miguel would have told you a lot about me, long and long.
34:14Elias.
34:15Yes.
34:16I don't think I mentioned it, right?
34:18No, how discreet Miguel is.
34:20Well, I am one of his best friends.
34:22And well, I am his assistant in his other job.
34:26Yes, because in this life, Salvita, I am going to give you some advice,
34:28you have to prosper, you have to thrive.
34:30As if you have to have another job.
34:32I have been a sandwich man and here I am.
34:35His other job?
34:37Yes, of course, of course.
34:38Let's see, this is not going to come out of here, because Miguel is very discreet.
34:41But apart from being a bookseller, he is a salesman.
34:44Well, I would say a representative of a prestigious brand of strips called La Fajete.
34:51Because he is a well-read guy, I figure it will suit you, right?
34:54No, I'm not very good at the subject of strips, really.
34:57Ah, no? Well, how lucky you are that you have fallen into the hands of an expert.
35:00Because you will have noticed the numerous calls that Miguel receives throughout the day.
35:06If he removes the strips from his hands, hey, what a business,
35:09that the phone does not stop ringing.
35:11Yes, but I thought it was to order books.
35:16But let's see, Salvita, what have you not understood from Spabilar?
35:20That it is not from the books, that it is for the strips.
35:22Well, strips and courses.
35:23That, as they say, eh?
35:25Fajas La Fajete, in whose interior anyone gets in,
35:28to be handsome and above all, more majete.
35:33Well, aren't you interested in a strip of Caballero?
35:35Because I also sell them, eh?
35:37It is that Miguel's business is not the same if it is not thanks to me.
35:40Because I have made a propaganda there where I have gone.
35:43No, no, yes, I see it.
35:45So what? Are you interested in a strip of Caballero or are we going with a course today?
35:52Yes.
35:57Carla, please.
35:59You can't go on like this, you have to eat well.
36:02I'm not hungry.
36:04Your stomach is going to close, daughter.
36:06And you're going to get sick.
36:08Let's see what I do with you here, locked up and sick.
36:12I'm able to feed you myself, like when you were little.
36:16Please, mother, don't be ridiculous.
36:18You never fed me, that's why I had the maids.
36:21Besides, I'm not hungry.
36:26My life, there has to be something I can do for you.
36:32Yes, you're right.
36:34Bring me the newspapers.
36:37Here, so much time locked up, there is nothing to do.
36:39At least that way I entertain myself and see what happens out there.
36:42Okay.
36:43I'll bring you the press.
36:45But eat, you have to eat.
36:51Come on.
37:10So you're in the dunes.
37:12Well, then it's obvious, Salvita.
37:14Obvious, white and in a bottle.
37:16This is very clear.
37:17A strip, the strip is going to come at you.
37:19Because, of course, with everything you're standing on,
37:21the time you spend, those kidneys, come on,
37:23and it's going to make you a well-styled figure.
37:25A cinematographer's figurine.
37:27Come on.
37:30Then I'll take care of one and then I'll bring the press.
37:32Good afternoon.
37:33Good afternoon, Don Salvador.
37:34Son, Miguel?
37:36He's gone to eat and hasn't come back yet.
37:38Wow.
37:40I came to ask him about your behavior today,
37:43but it seems that he's going to be the one who asks for explanations.
37:47It's late.
37:49You don't move, son.
37:50Don't go to be.
37:51That you exhaust yourself.
37:56The goleta of the letters.
37:57Tell me.
37:59Sorry?
38:01Fajas, the fajete.
38:04No, no, sorry.
38:05He must have been wrong.
38:06No, no.
38:07It's not here.
38:08I'm sorry.
38:09Yes, I'm sorry, Don Salvador.
38:12Yes, tell me.
38:14It's ...
38:16It's ...
38:17It's ...
38:19Yes, yes, a moment.
38:20Can you write down, please?
38:22Yes, fajas, the fajete, tell me.
38:24Of course, an order right now.
38:26Yes.
38:27Two fajas and a corset.
38:30In the name of ...
38:31Write down, Don Salvador, please.
38:33Ángel García Gómez.
38:36Yes, yes, with pleasure.
38:37Here we are waiting for you, of course.
38:41This is intolerable.
38:42But good.
38:43Intolerable.
38:44Don Salvador, if it's a sale that doesn't bite the duck.
38:46Let's see, Elias.
38:47What are you doing here?
38:48I already know, I already know, Don Salvador.
38:50If it is that I have to get out of the bar,
38:52and I really look like a completely different man.
38:55If it is that I am not recognized.
38:58Well, I'm going to go to work because work claims me.
39:01If you can do me a favor and tell Miguel
39:03that I have achieved a sale of two fajas and a corset.
39:06They are so kind.
39:08Ángel García Gómez.
39:11Two fajas and a corset.
39:14Why?
39:15Because I have to go.
39:16If not, you don't say a word about this to Miguel, okay?
39:21I'll talk to him tomorrow about this whole thing,
39:24about the fajet.
39:25The fajete, father.
39:27Fajas.
39:29And corsets.
39:37I'm in love with you.
39:39Please.
39:40Don Fermín, don't remind me of that stupid mistake.
39:44It was inappropriate, let's forget it.
39:46But how can I forget it?
39:47I have a feeling that I'm running away at any moment.
39:49No, no, no.
39:50I'm not running away from you.
39:52What happens is that I'm trying to amend my mistake.
40:03Don Fermín, excuse me.
40:05I saw you this morning leaving with Mrs. Lázara
40:07and I think you have something to tell me about it.
40:11Teresa, I consider that what I leave or stop leaving with Mrs. Lázara
40:15is a personal matter that I have no reason to share with you.
40:19But if all I...
40:20Besides, what do you know about it?
40:23No, nothing.
40:24There are some tables that need to be painted,
40:26but I don't know exactly what they are.
40:28Excuse me, but I didn't think it was a personal matter.
40:32Well, it is, Teresa.
40:34It is.
40:35Because it is a matter that concerns Mrs. Lázara.
40:37So please, try to understand.
40:40Now, if you'll excuse me, I have to go back to the office.
40:43See you later.
41:07You've already fixed it, haven't you?
41:10Sit down, Marta, please.
41:14Antonio has spoken with Esperanza.
41:17Come on, I'd stay where I work, not here.
41:20Esperanza told me that you are looking for a room in a boarding house.
41:23Don't tell the secrets of others.
41:26That commandment is not known.
41:28Marta, if that's what you want, go ahead, go.
41:31But it's not what we want, honey.
41:33Our intention is that you live with us.
41:36That the three of us live together, like a family.
41:40That's it.
41:42That's it.
41:44You are our daughter.
41:46Do you understand?
41:48Our daughter.
41:51It's just that I thought I was bothering and ...
41:53Oh, what are you going to bother, honey?
41:55Come here.
42:00The only thing is that we have to find a more comfortable place for the three of us.
42:05It's just that my house is smaller than that.
42:08But the important thing is that the three of us are together.
42:11Yes.
42:15Do you know what I'm telling you?
42:17That right now I'm going to go to the Colmado and I'm going to prepare a dinner for you to suck on your teeth.
42:30Do you see what a good idea it was?
42:32With afternoons like this, I don't feel like going to the boarding house.
42:36Yeah, it's very good.
42:38And besides, if you come to get some fresh air after work, it seems that you forget your worries.
42:44Worries that don't want to take you home?
42:47Well, my big worry right now is Mrs. Lazara.
42:51Have you already done one of hers?
42:54Not to me.
42:56But I'm worried about Mr. Fermin.
42:59Let's see, for me it is clear that she is looking for something in him.
43:01But I'm starting to think that he is also looking for something in her.
43:05But why do you say that? Have you seen anything?
43:08Well, look, this morning in the living room they were each at one end and looking at each other.
43:13And then they were talking about something that we didn't hear, of course, but it seemed personal.
43:18Do you think Mrs. Lazara and Mr. Fermin...
43:21Well, I don't know.
43:23But in the afternoon I went to talk to Mr. Fermin because there are some tables that need to be painted in the living room
43:28and he has thought that I was going to ask him about his conversation with Mrs. Lazara.
43:32Of course, don't you see how he has gotten?
43:34As if I were asking him about the most intimate thing in the world.
43:44Well, yes, we would have to talk about wedding things, right?
43:49Like, for example, Jean-Carlo.
43:53Do you know if he will be able to come at the end?
43:55Not yet.
43:57Although being realistic, I don't think we can count on Jean-Carlo.
44:01I'll have to think of someone else as a godfather.
44:06I wanted to tell you...
44:08And you?
44:09What?
44:10Have you thought who could be your godmother?
44:12Oh, yes, yes, yes, I've already told Esperanza.
44:15It's a joke, right? It's Spanish humor that I still don't understand.
44:20No, it's not a joke.
44:22I told her, you don't know how excited I am.
44:26Since it's not a joke, I don't want Esperanza as a godmother.
44:30Why?
44:31But, Pietro...
44:33Well, you have a lot in common, but you also have affection.
44:36Yes, Antonia, we have affection.
44:38It can be funny at work,
44:40but to take me from the arm to the altar, no, please.
44:44This woman would be able to get food in front of the priest and the guests.
44:49Aren't you exaggerating a little?
44:51No, I'm not exaggerating, Antonia.
44:53Esperanza is not suitable.
44:55Pietro...
44:56No, no, no.
44:57Don't try to convince me, Antonia.
44:59Because you're not going to get it.
45:02I'd better go.
45:04I'm sorry.
45:06But...
45:08Pietro!
45:13What do I tell this lady now?
45:16Mr. Lázaro and Mr. Fermín.
45:20I never would have thought it.
45:23Well, I hope this stays between you and me,
45:25I don't want the rumor to spread.
45:27But well, after all, I don't have any proof.
45:30They are just my speculations.
45:32I'm sure they are, Teresa.
45:35Whether you like it or not,
45:37they are two people who spend a lot of time together now.
45:40And now they even share an office.
45:42It's normal for there to be some complicity between them.
45:45I'm sure that's all.
45:47Well, I've been working hand in hand with Mr. Fermín for years,
45:50and I assure you that I've never looked at him like Mrs. Lázaro looks at him.
45:53And how does Mrs. Lázaro look at him?
45:55Well, with desire.
45:58As if he were the most handsome man on the planet.
46:02Well, as people who like each other look at each other.
46:09Why are you looking at me like that? Do I have something?
46:11No, you don't have anything.
46:12No?
46:16I say that maybe Mrs. Lázaro looks at him like that
46:18because she wants to earn his trust.
46:19No, Cañete, no.
46:22I'm sure Mrs. Lázaro is looking for something else in him.
46:25You'll see.
46:35Well, this morning I didn't have them all with me.
46:38I went to see Celia Silva, the photographer.
46:43Laura's friend, do you know her?
46:44Yes, her partner in the store.
46:46Well, it turns out that she also works as a press agent.
46:51And well, at first she didn't want to help me,
46:53but I had to think about it better
46:55because she called me saying that she accepted my proposal.
46:57So she's going to help me spread the Madrid-Cabaret event through the press.
47:03And to be able to do it, there's not much time left.
47:05Yes, yes, I trust her.
47:07In addition, it turns out that she has already contacted Fortuna.
47:10The bullfighter.
47:11And she's also going to contact other personalities
47:14who don't want to tell me who they are until they tell me if they're coming or not.
47:17Well, it does seem efficient.
47:19It is.
47:21And well, for my part, I'm trying to contact Celia Gámez,
47:24but I can't get her to put her phone down.
47:27She would be a good claimant.
47:33How nice that everything is going smoothly.
47:39Sorry, my love, sometimes I end the conversation.
47:43And how are you? Any news?
47:46Yes, yes.
47:48Jacobo has called.
47:50He's still in Seville and it looks like he's going to come to an agreement to buy the place.
47:54I'm glad, finally some joy.
47:57Yes, and the place is bigger and more beautiful than it seemed in the plans.
48:01Even the waiters have told him that they want to continue working there with him.
48:05And have you told him if he can come to the party?
48:08No, he won't be able to.
48:09Because he has the contract signed.
48:12What a shame.
48:15And well, tell me, how's it going with Don Fermín?
48:19Has he told you anything about your proposal?
48:21Well, I don't know.
48:23He hasn't said yes or no, that he would think about it,
48:26but I'm afraid it's going to be a negative response.
48:29No, I don't think so.
48:31Don Fermín has a sense of business and your idea is very good.
48:35You'll see that he says yes.
48:45Is something wrong?
48:48Matilde?
48:51But that's the problem.
48:52The rumors, when they are repeated a lot,
48:55they end up being true in the eyes of others.
48:59I'm afraid they'll start treating Íñigo like a murderer when he's not.
49:02Yes, Loma explained to me how bad it is with the pressure of the press and the police,
49:06and of course, that they accuse him of murder.
49:08In the eyes of everyone, it must be hard.
49:10Yes, yes, it is. Of course.
49:13Even so, I saw it with great interest.
49:17And you, Matilde?
49:19How are you doing?
49:22Well, it's been painful and complicated.
49:26I'm not going to lie to you, the pressure affects me.
49:29But I know who I'm married to.
49:33And I know what Íñigo is capable of and what he is not.
49:38Of course.
49:41Matilde.
49:44Is something wrong? Do you feel upset?
49:47No, no, it's nothing.
49:49What do you mean, it's nothing? If I see you worried ...
49:51I'm telling you, it's nothing.
49:54Well, if that worries you, you know I can ...
49:56Look, Íñigo, I need to ventilate. I'm going to the terrace.
49:58Okay, I'll go with you.
50:00No, there's no need, there's no need.
50:02I'll go out alone.
50:11No, no, no.
50:41I love you.
51:11I love you.
51:30What are you going to do? You can't go on like this.
51:32I'm going to New York. I already have everything planned.
51:35In two days I'll embark from Lugo.
51:38I would like you to come with me.
51:40But it's the love of my life.
51:42I want us to start from scratch.
51:47Without a company, without benefits and without liquidity, there is no money.
51:50And if there is no money, there is no possible revenge.
51:56Have a good day.
52:02My father is coming to talk to you.
52:04So don't tell me later that I didn't tell you.
52:06And what does he want to talk about, Don Salvador?
52:08He asked me not to tell you.
52:10Is it good or bad?
52:11Well, there's no need, because he's coming.
52:13Don't worry, Antonia, I have everything under control.
52:16I couldn't have chosen a better godmother than me.
52:19But when are you going to tell Esperanza that she won't be the godmother of our wedding?
52:23I tried, Pietro, I swear, but I couldn't.
52:26She's very excited, it's like she's going to get married.
52:28Maybe I'll start giving a few words at the banquet.
52:32When I do it better, in the desserts.
52:34Before, after.
52:36When you want, woman. The point is that the guests listen to you.
52:39Please leave us alone for a moment.
52:41Well, I'll go to the gallery to have a beer.
52:44But don't take long, I still have a lot of inventory left.
52:47What are you thinking about?
52:52What do you think?
52:54That I'm not innocent?
52:55Don't you realize that for me it is also very painful?
53:00Oops, what a bad leg!
53:02You just threw the bet.
53:04No, it was unintentional.
53:06I would like to have a conversation with you.
53:09Do you agree?
53:10I don't know how it's going to be possible, because I don't feel like it.
53:13At least you could tell me your name.
53:15Leave me alone.
53:17The girl's name is Marta.
53:26Oh, damn!
53:27What I just saw!
53:29What did you see, Esperanza?
53:30Oh, what I just saw!
53:32Your friend!
53:33Giancarlo won't be able to attend the wedding.
53:35What? Why?
53:36They won't let him leave the country.
53:38I'm sorry to interrupt, but this is Ernest Hemingway.
53:42Oh, my God!
53:45My pleasure.
53:47Tell me, do you believe it?
53:49I know you're not.
53:51But there are things that don't suit me.
53:52Tell me.
53:53Do you think I'm a murderer?
53:57I can't trust you.
54:03I can't trust you.