Salón de té La Moderna - Ep 193
Salón de té La Moderna - Ep 193
Transcript
00:0010 MINUTES LATER
00:12I've hurt you too much.
00:13I didn't want to leave without saying I love you.
00:16Leave?
00:17No, no, no. It's over. I'm sorry.
00:25Ines, what are you thinking about?
00:27Nothing.
00:28I was thinking that I shouldn't talk too much so that my recovery is faster.
00:34I see. What did the doctor tell you about that?
00:37That I shouldn't talk too much.
00:40Anything else?
00:42What he told me isn't very positive.
00:45He told me that my vocal cords were damaged.
00:48I see, but he didn't tell you anything else?
00:50Well, he didn't make it very clear to me if I was going to fully recover or not.
00:54Well, you know how doctors are. They prefer to keep quiet to cover their backs.
01:00Yes, you should have seen his face.
01:03It was as if he didn't want to tell me that things were looking bad.
01:07Well, maybe he didn't want to sign anything without doing all the tests.
01:11That's what the guy said. Without them, he can't make a clear diagnosis.
01:14He won't be omitting information. Maybe he doesn't know.
01:17Well, look, I can't guess what that doctor is thinking.
01:21Well, but you have to give him a chance, Inés.
01:24That doctor is an eminence. And he has cured many singers, hasn't he?
01:52How are you, daughter?
01:54Mother, don't worry so much and don't underestimate me.
01:58I plan to endure whatever it takes until I can execute my revenge.
02:03Daughter, I understand your feelings and your anger,
02:06but you're really going to ruin your life just because you have...
02:09Just to do justice?
02:11I think it's more than enough reason.
02:14Carla, dear.
02:16Why don't you try to forget?
02:18Forget about everything.
02:20You've suffered a lot.
02:23You could start a new life, leave.
02:25Leave all this behind.
02:27I have everything, everything prepared.
02:29You just choose the day and you've done the rest.
02:31Mother, I know you're trying to protect me and you think that's best for me,
02:35but I've already told you.
02:38I'm not going to run away.
02:40Don't be so stubborn.
02:42Don't be so stubborn, daughter.
02:44You're really going to ruin your existence because of a bastard who has broken your heart.
02:47He's going to remember me for the rest of his life.
02:55You've suffered enough, daughter.
02:59I've already decided.
03:01And I would like to be able to count on his help.
03:05I just ask you to think about it a little more.
03:09I just ask you to think about it a little more.
03:12It's more than I thought.
03:14So don't try to convince me because it's useless.
03:22I know you're not sure,
03:24but I'm very sure you're going to go back on stage
03:27and you'll leave all your audience stunned.
03:31I prefer not to make my illusions, Laurita.
03:33Because if I don't recover in the end, the disappointment would be huge.
03:37Well, I understand what you're saying,
03:39but don't get the worst of it.
03:41What we have to do is make plans so you can distract yourself.
03:44We could go help Celia paint the back of the store.
03:50What an illusion.
03:52Well, we'll paint a little, see how it goes,
03:54and then we can go see the show.
03:56I don't know.
03:58I don't know, Laurita.
03:59I'd rather stay home.
04:01I don't want to infect my mood in either of you.
04:05Are you sure?
04:06Yes.
04:07If I change my mind, I'll call you at the store.
04:11Okay.
04:12I'm leaving, but I'll be watching.
04:37Yes?
04:38Inés, how are you?
04:40Bésar.
04:42I've been thinking about you all day.
04:44Do you remember we met this afternoon?
04:46Yes, yes, of course I remember.
04:49I haven't slept thinking about seeing you.
04:57Well, did you look at the documents I gave you?
05:01Did you look at the documents I gave you?
05:06Ask Fabio to increase the rent of the furniture in Seville by 5%.
05:14By 5%?
05:15I asked for 10%.
05:18I don't know how Fabio is going to live his life now.
05:21He doesn't care.
05:23He asks me to help him, but then he doesn't do what I tell him.
05:26I don't understand him.
05:28Tell him it was already agreed, make him change it.
05:32Listen to me, daughter.
05:34Without a company, without benefits and without liquidity, there is no money.
05:39And if there is no money, there is no possible revenge.
05:41Do you understand me?
05:43I know.
05:46I know you know.
05:48But from time to time it is good to shorten it.
05:52I'll see what I can do with Fabio and the issue of percentages.
05:58I'll see what I can do with Fabio and the issue of percentages.
06:15Antonia, don't take too long and give me the list of guests.
06:18As if I'm not going to the printing house to take care of the invitations.
06:22Well, I have a lot of things on my mind, Esperanza.
06:24So many that I don't even know where to start.
06:27Well, make a list and give me the first one.
06:30Yes, yes.
06:31Excuse me, but I still don't know exactly who I'm going to invite.
06:34Antonia, Antonia.
06:35Well, you know you can count on us.
06:37And if you need any kind of help, just let us know.
06:39Well, well.
06:40Order, order.
06:41If you have to ask something, come and tell me.
06:44For that I am the godmother of the wedding and the one who organizes everything.
06:47Do you understand?
06:48Yes, yes.
06:49Well, Esperanza, you don't have to take care of everything.
06:51I can also do things.
06:52And here Elías also wants to help.
06:54Antonia, with you concentrating on being beautiful and being happy.
06:57Well, and make me the list of guests.
06:59Is Elías invited?
07:00Well, woman, of course.
07:01Man, but if I know how to add all the sauces, Esperanza.
07:05By the way, Antonia, will there be a dance, right?
07:08I told you to ask me the questions.
07:10Well, I'll do it to you.
07:11There will be a dance, right?
07:12I imagine there will be a dance at your wedding.
07:13Because dancing is the most important thing.
07:14Apart from the boyfriends.
07:15Please, you don't have to take it to your chest, Esperanza.
07:18Come on, hurry up.
07:19That Spain does not get up alone to work.
07:21Well, write it down about the dance.
07:23Yes, I'll write it down.
07:24Come on, man.
07:26Don't worry, Antonia, I have everything under control.
07:29It's just that I couldn't have chosen a better godmother than me.
07:32Well, I'm leaving.
07:33That apart from solving the wedding, I also have to do my job.
07:37Of course.
07:38Oh, look at him.
07:39Since he's engaged, he doesn't look as ugly as before.
07:54Salvita.
07:57If you like, you could help me with the order that has just arrived,
08:01so you can spend the morning faster.
08:03No, Miguel.
08:04Don't worry about me.
08:06I'm not very boring.
08:08If I'm careful, I'll find a way to have a good time.
08:12Well, since you're not boring,
08:15I'm sure you'll also find it very fun to help me with what I ask of you, right?
08:20By the way, Miguel.
08:24My father is coming to talk to you later,
08:26so don't tell me later that I didn't tell you.
08:30And what does Don Salvador want to talk about?
08:33He asked me not to tell you.
08:35He made me promise what, according to him, I like to talk a lot,
08:39and right away I leave the language.
08:41Well, I'm not asking you to tell me exactly what he told you,
08:45but a little clue.
08:47Is it good or bad?
08:48It's not necessary, because he's coming.
08:50So...
08:52I was about to tell you, but...
08:54Hey, a piece of advice.
08:56Don't deny what is obvious,
08:58that makes my father angry, you can't imagine.
09:00What?
09:02Good morning, Don Salvador.
09:03How can I help you?
09:06Well, look.
09:08I'm very curious about the fajete.
09:13Well, me too, because I don't know what it is.
09:17Are you sure, Miguel?
09:21Well, yes.
09:22I have some idea.
09:24In that case, I'm willing to listen to everything you have to tell me.
09:31Let's see, Don Salvador.
09:33Due to circumstances that do not apply,
09:36I saw myself in the need to complement the salary of the bookstore
09:40with an additional income.
09:43That's why I had to look for a job.
09:46Selling fajete in my bookstore.
09:50Please don't fire me.
09:52I beg you, Don Salvador.
09:54I won't sell fajete again.
09:56I promise.
09:57And I'll focus on books and the bookstore, as I've always done.
10:00What you've done is very wrong, Miguel.
10:02You've betrayed my trust.
10:05And you've used my bookstore to sell a disgusting product.
10:09You're absolutely right.
10:11And I'm very ashamed.
10:13That's all I can say. You're right, and I'm sorry.
10:16Salvita.
10:18Leave us alone for a moment, please.
10:21Well, I'll go to the gallery to have a drink.
10:25But don't be long. I still have a lot of inventory.
10:33Don't think you've gotten rid of the threat of fire, okay?
10:36I told you I was wrong, and it won't happen again.
10:39Behave yourself. Your job is not in danger.
10:42I won't do anything like that again.
10:44Nowhere. Not here, not anywhere.
10:47Goodbye, fajete.
10:48Anyway, tighten it. What's the point?
10:50There's something I could do to forgive him
10:54and to forget this unpleasant incident.
10:57Trust me, Miguel.
10:59I need you to domesticate my son.
11:02Domesticate?
11:03Come on, Miguel.
11:04Don't tell me you haven't realized he's a retarded vagabond.
11:08Make him a man of his word.
11:10Even try to instill in him a habit
11:13that goes beyond playing the tambourine and going to parties.
11:19What if I can't do it?
11:22And if you can't do it,
11:24I'll remember all of a sudden that you've been selling fajitas in my bookshop.
11:31Deal?
11:35It's over.
11:36Good afternoon.
11:40Good afternoon.
11:48But when are you going to tell Esperanza
11:50that she won't be the bride of our wedding?
11:52I swear I couldn't.
11:54She's so excited. It's like she's going to her house.
11:57But don't worry. I'll do it.
12:00Come on.
12:01As soon as possible, please.
12:03The more excitement there is, the harder the disappointment will be.
12:06Just thinking that this woman will take me from arm to arm
12:09makes me sweat.
12:10I think you're exaggerating a little.
12:13But don't worry. I'll do it. I promise.
12:16Have you found a way to let your son know?
12:19Yes.
12:20Yes?
12:21I've been given the number of a tavern in the village where I live now.
12:24I'll call him when I can.
12:25I hope I can come.
12:27Will it make you as excited as marrying me?
12:30Yes. It would make me very excited.
12:33I was thinking about something.
12:34You told me yesterday that you'll miss not living in La Corrala.
12:38Right?
12:39Well, yes.
12:40But don't worry about that.
12:43One does everything.
12:45We could rent the flat where Matilde's family lives.
12:49It's free.
12:51Really?
12:52We could talk to Don Braulio's children.
12:55Yes.
12:56I'll try to find them.
12:58And we'll see what they ask for the rent.
13:01Perfect.
13:02Yes.
13:03It would make me very excited to be able to stay after our wedding.
13:07Thank you.
13:09One, two, three, four, five, six, seven.
13:31Of course, painting is your thing.
13:33Why do you say that?
13:34Because you have more paint on your face than on the walls.
13:37Those are details.
13:38And why don't I finish painting and you finish making the inventory?
13:42That way we'll know what we need and what we don't.
13:44We open in a week and we don't have time.
13:46No, I'm not going to continue painting.
13:49By the way, I want to go for a walk with my sister.
13:53Before going to the Madrid-Cabaret party.
13:56She has a lot of memories of that place and she doesn't want to go back.
14:01Good morning.
14:03I see you're preparing the opening.
14:05Yes, the truth is that we're a bit busy.
14:08And how are you? Nervous?
14:10Nervous?
14:11Well, the truth is that a little, yes.
14:13I play a lot at this party.
14:15And if it doesn't go well, that will mean that people have turned their backs on the Madrid-Cabaret and whatever that means.
14:20But well, I try not to think about it and focus on everything going as well as possible.
14:25Because then the rest...
14:27Well, it's not in my hands.
14:29But that's not going to happen.
14:31Because I've spoken to four newspapers that have confirmed your attendance.
14:36Let's see if I'm going to have to change the name of the place.
14:39Call it Celia Cabaret.
14:41Well, well, first we're going to fill it up and when it's very successful,
14:44then maybe you can choose a poster with my name on it.
14:53Hi.
14:54Hi.
14:55Hi.
14:58Hey, I wanted to apologize for yesterday's incident.
15:02I wasn't nice. I hope you didn't think I wanted to make fun of you.
15:06I don't even remember.
15:09It's just that as soon as I see the occasion, I start making a fuss.
15:12That's how I am.
15:14Yeah, well, they pay me to clean, not to beat up the clients.
15:18Well, girl, I'm more of a partner.
15:21Don't you see that I work in the bookstore?
15:23If you want to work, I'll see you here.
15:25Well, that. Much better here, with you.
15:30Oops, what a bad sign.
15:33You just threw the bet. I'm not going to clean it.
15:35No, it was unintentional.
15:37No, it was unintentional.
15:39Hello, sir. Would you like something? Some candy, some pasta, something else?
15:43Well, the horchata is left.
15:45Clean it, please, before the gentleman can stain it.
15:47No, no, no need. I'll clean it.
15:49No, I'll clean it, it's my job.
15:51Well, bring me the most exquisite of your menu.
15:55Regardless of what it costs?
15:57Surprise me. My father pays.
15:59Remember, the most delicious you have.
16:01Interesting choice. I assure you that I will not let you down.
16:04Excuse me.
16:09Have you already spoken to Celia Gámez?
16:11No, the truth is that I can't get her on the phone.
16:15Yes, it is true that I have the contact of her representative.
16:17What happens is that this man is a bit ...
16:19embarrassed. Come on, let's not get carried away today.
16:22Well, I promise you that it will be worth it.
16:25His presence will be a bomb.
16:27And I am convinced that there will be no newspaper that does not want to attend to take a picture of him.
16:31Yes, yes, I also think the same as you, but ...
16:33it's just that I see it more and more complicated.
16:36I see.
16:38Well, I don't know, maybe I can take a guest ...
16:42a little special.
16:44And can you tell me who you are talking about with so much mystery?
16:47Well, it has nothing to do with the BBC.
16:49But it has its audience.
16:51But until I'm insured ...
16:55You are very intrigued.
16:57But well, in the meantime, I will continue to try to contact that representative.
17:00But this time I will not call her.
17:02I will introduce myself in person and talk to him.
17:04Well, by the way, I haven't told you before, but ...
17:07if you want, I can put you in contact with a squad of workers to help you with the works.
17:12I have very good contacts in construction and if you tell him that you are on my side ...
17:16I'm sure you'll get half the price.
17:18Well, the truth is that we would appreciate it very much.
17:20So if you can make that call, it would be great.
17:23Consider it done.
17:25Celia.
17:27Thank you very much for everything you are doing for me.
17:30And you too, Laurita.
17:32Have a good day.
17:33Goodbye.
17:38No, no, no, no, you stop painting, huh?
17:40Yes.
17:41No, no, I just started.
17:43How can it be that you have stained so much, again?
17:46Let me.
17:59Hey, it was just a joke.
18:01Do you forgive me?
18:03I like to be silly, but I tell you that I don't have a bad background, huh?
18:06I agree.
18:07In the first thing you said, in the second, I don't even know and I don't care.
18:11I would like to have a conversation with you in peace.
18:14Yes, well, I don't know how it's going to be possible because I don't feel like it.
18:18At least you could tell me what your name is.
18:21Leave me alone.
18:22Oh, what a beautiful name.
18:25I'll try again.
18:27What?
18:28That mine is, I'll try again.
18:36Wow, what a look.
18:39I wanted to ask you a question.
18:41How did we end up?
18:43Didn't Miguel tell you everything?
18:45No, of course not, man.
18:47I gave him my word.
18:49The girl's name is Marta.
18:59Coming here brings me very good memories.
19:02And seeing you makes my heart happy, you know.
19:05Yesterday you saw Don Fermín, right?
19:07Yes, I told him I wanted to work here again.
19:11Not as a waitress, but to organize events and events in the upper part of the room.
19:16Let's see what he says.
19:18I hope he says yes.
19:19I would love to see you here again, I miss you a lot.
19:22And I'm not the only one, huh?
19:23And I miss you too, especially you.
19:28Are you okay, honey?
19:32Yes, Antonio, these weeks have been very difficult.
19:35I'll take care of it.
19:37I'll take care of it, honey.
19:39When they accused your brother, it was terrible.
19:42Yes, and now we have to face that again.
19:45Life is taking its course with us.
19:48Yes, honey.
19:49But the bad streak, just like it comes, it goes away.
19:53You have to look to the future.
19:56Yes.
19:57Yes, I hope this bad streak ends as soon as possible.
20:00Because the truth is that I don't know how much strength I have to endure this mess.
20:04You are a very strong woman.
20:06Very strong and very determined.
20:11Is there anything else, honey, that you want to tell me?
20:17I don't know.
20:18I don't know how Don Salvador found out that I'm the distributor of La Fajete.
20:22Well, I don't know, but he found out.
20:24And you got rid of a fat woman.
20:25Yes, yes, I got rid of a fat woman, but they gave me another one.
20:28What are you talking about?
20:30I want him to straighten up his son.
20:32And with the event that is done.
20:34So you can't sell fakes, but you can be an institute.
20:38Come on, this man doesn't know how to get his son in trouble.
20:41And he says, well, let someone else do it.
20:43Well, what a choice, huh?
20:44Because you, with how soft you are.
20:46Man, Tini, soft, soft.
20:48I don't know if it's the word, but ...
20:50Come on, I don't see myself getting anyone in trouble.
20:53And much less Salvita, who is a professional vagrant.
20:56It must be recognized that in his thing, he is the best.
20:58What will you do if you don't get it?
21:00Well, my job is in danger, nothing less.
21:02Well, you'll have to do everything possible.
21:04Now we have to focus on the Cupid plan.
21:07That's the most important thing.
21:08But I wanted to be a bookseller.
21:10And in the end, I'm everything but that.
21:12Selling fakes, institute, actor.
21:14I'm going from bad to worse.
21:15Honey, since we don't give a damn about this Cupid plan.
21:18I tell you that this boy is going to come out.
21:20And we're going to have to say that all this is the fruit of the Holy Spirit.
21:23You're right, you're right.
21:24The first thing is the first thing.
21:25Let's see, how do we start with the Cupid plan?
21:27Well, at the beginning.
21:29Falling in love.
21:30Well, making us fall in love.
21:32And above all, it has to be something believable.
21:35Very believable.
21:37Well, I'm already in love.
21:39No problem.
21:40I just have to let go of my passion.
21:42Believable, love.
21:43Believable, believable, believable.
21:45We'll have to, I don't know.
21:47Well, we'll have to look at each other.
21:51Make some kind of touch.
21:53As if it were a sudden love, right?
21:56Like an arrow.
21:57Like a sudden romance.
22:02I think we'll need a witness.
22:04Esperanza, Esperanza will be a good witness.
22:06Well, whatever you say.
22:08But you and me, Esperanza.
22:10A flawless plan, come on.
22:11No, no, don't worry.
22:12Because we'll have the perfect match.
22:16What?
22:19Honey.
22:22You can tell me whatever you want, you know.
22:24It's just that...
22:27Well, it's just that in this process I've felt a little lonely.
22:30Íñigo and I have supported each other a lot, of course.
22:32But there have also been times when I've been left alone with my thoughts.
22:35Not knowing what the other person was thinking or what they were regretting.
22:40Don't you trust him?
22:41Of course I do.
22:43He's a wonderful man and he's been through a lot, but...
22:48I wonder if we'll ever get to know someone completely.
22:51Yeah.
22:53Well...
22:55We all have different things, right?
22:57No one is perfect.
22:59Maybe you're in a sadder, more tired moment and...
23:04And you can't show that happier side that you're used to, but...
23:09That's also marriage, right?
23:11Yes.
23:12Show the less happy, sadder side of yourself.
23:17Yes, I respect their silences.
23:19I also have mine.
23:20And I'm not perfect, much less.
23:23You've been through a lot, honey.
23:26A lot in a very short time.
23:29But you'll see how it all works out.
23:36Trini, my love, don't you think we've gone too far with Cañete?
23:39We've fried the poor man.
23:41Well, don't worry.
23:42Because you're going to ask him for a favor and he's going to say yes.
23:45No, I don't dare to say anything right now.
23:48I have a lot to take care of Salvita.
23:51By the way, she's been alone for a long time.
23:53She also put all the tuna in the bookshop.
23:55Well, okay.
23:57See you after lunch.
23:58Don't forget that we're going to start with the plan.
24:01The plan, I beg you.
24:02Yes.
24:08Cañete.
24:10Look, I was just looking for you.
24:12Tell me, Trini, what do you need?
24:13Well, you know that Mr. Fermin has broken the rule that married women can't work in La Moderna, right?
24:20Well, we've decided that Miguel and I are not going to tell him that we're married.
24:24Yes.
24:25We're going to pretend that we're in love, that we're falling in love right now.
24:30And, well, we need you to help us.
24:32And I think you're the right person.
24:34No, no, no. I'm very sorry, Trini.
24:35But I'm not in the mood for these games right now.
24:38And more so than I was yesterday with Mrs. Lázara.
24:40Why did you do it with Mrs. Lázara?
24:44Well, according to Teresa, Mrs. Lázara is after Mr. Fermin.
24:49But I don't know what to think.
24:51What's more, every time I think about it, I get sick.
24:54Well, if Teresa says it, it will be true.
24:56Because we always have a sixth sense with all these things.
25:00Well, she must have spoiled it with me.
25:03All that doesn't want to realize that I love her with all my soul.
25:06Cañete, I've told you many times that you have to give her time.
25:11And as long as you give her time, you could help us.
25:17Come on.
25:24Yes, yes, I'm here waiting for confirmation.
25:28Do you like how I've done my makeup?
25:30Yes, yes, yes. You look very pretty.
25:32Well, you've also practiced a lot, haven't you?
25:34Well, it's a very important night for Inigo and I want to be up to it.
25:37Sure, and more with the artist that he will have summoned.
25:39Yes, although there is bad news.
25:42What?
25:43Celia Gámez's representative has called to say that she can't come.
25:46Perfect. Thank you very much. See you later.
25:51Well, well, well.
25:52You don't know who is going to come to the party tonight.
25:56Not for your face, at least Rodolfo Valentino, right?
25:59No, no, no. Nothing more and nothing less than Ernest Hemingway.
26:02Ernest what?
26:03But what is he? Because he has the name of a painter or photographer.
26:06No, no, no. He is a North American writer.
26:08He was a correspondent in Paris and you don't know how well he writes.
26:11The press is going to be stunned.
26:14How nice.
26:15Yes, yes, yes.
26:20How handsome.
26:24How do you see it? I didn't know if I should wear this or the green one.
26:27You have so many dresses.
26:28Let's see, the truth is that all of these look good on you.
26:30But I like this one the most.
26:32Besides, I have a lot of affection for it.
26:33Well, I gave it to you.
26:35You are very handsome, but you are missing something, Marta.
26:38Something?
26:39Inés, don't tell me that, what it took me to put on this dress.
26:42No, no, no. I know where Inés is going.
26:44Marta, let yourself go.
26:46Of course, Carpe Diem.
26:47Look, you are missing some earrings.
26:54Look.
26:55Which one should I choose?
26:56Well, look, I think these can look very good on you.
27:01Do you think so?
27:02Yes.
27:06Inés, I'm sure you don't want me to stay here with you.
27:10I can go to Bel Air any other day.
27:12No, no, no, no.
27:13And lose the great writer.
27:14No, no, no.
27:15Don't be silly, I'm serious.
27:16I prefer to be with you.
27:17Laurita, I'll be fine.
27:18Really.
27:19You promise me that you are going to enjoy yourself and that you will drink something to my health.
27:22I promise.
27:24And what are you going to do?
27:25Well, I'm going to go to bed because I'm exhausted.
27:29Well.
27:30Well, nothing, girls.
27:31So, if you are here, we are leaving now.
27:33If we don't arrive late.
27:34Ready.
27:35Let's go.
27:39Good night.
27:40Good night.
27:42Goodbye.
27:43Goodbye, Inés.
27:44Have a good time.
27:45Thank you.
28:04You'll see.
28:05It will turn out great.
28:06Ok?
28:07I will try, Trini.
28:08I will try.
28:09But I'm not a good actor.
28:10Trini, I can do anything else, but I'm not a good actor.
28:11Ok, take a deep breath.
28:12Ok?
28:13Calm down and repeat after me.
28:14The Cupid plan is going to be perfect.
28:15Yes.
28:16No, repeat it.
28:17The Cupid plan is going to be perfect.
28:18The Cupid plan.
28:19The Cupid plan is going to be perfect.
28:20But, wait a minute, Danza.
28:21What?
28:22What?
28:23What?
28:24What?
28:25What?
28:26What?
28:27What?
28:28What?
28:29What?
28:30What?
28:31What?
28:32What?
28:33What?
28:34What?
28:35Stupid, go on, Cupid plan is going to be perfect.
28:36Yes, we have to make it.
28:37But, wait a minute, Danza.
28:38You don't understand my time in the library.
28:39Can I come in a little later?
28:40Yeah, sure, but please, take that sweat off your face.
28:41There's no one who is in love like that.
28:42Are we all ready?
28:43Ok?
28:44Everyone, let's go.
28:45Every one to his places and, first of all, naturally.
28:49Alright?
28:50Let's go, she can't come.
28:51Come, come.
28:52Let's go.
28:53Do not reluctantly go out.
29:01They were young.
29:06Esperanza, how's the morning?
29:09Too much up and down in the living room?
29:11Well, it's the same as always.
29:14Why?
29:15Did the vampire tell you something?
29:17No, no, Dona.
29:19But I have seen sweet traces
29:22around those tables.
29:25I don't know what sweet traces you must have seen.
29:28It's a pleasure to see you.
29:30Yes, woman, I've seen you.
29:32Where is the bookkeeper sitting?
29:34No, man, everything is clean.
29:36Look, I was going to tell you.
29:38I need for Antonia's wedding
29:40someone to sit people in the church.
29:42Are you busy?
29:44What are you doing? Are you listening to me?
29:46Yes, of course I listen to her, Antonia.
29:48I mean, Esperanza.
29:50And I thank you for asking me.
29:52But I have an idea.
29:54Why don't you propose it to the bookkeeper?
29:58He's very kind, he has a good job.
30:00Look at him, look at him.
30:02I don't trust him.
30:04He's a lot of trouble.
30:06What does that have to do with the task?
30:08Because he starts talking,
30:10people are gathered,
30:12a queue is made, and then we don't fix anything.
30:14No, woman, you look at him well.
30:16Look at him, look at him, look at him.
30:18But hey, what the hell has he given you to look at him?
30:20Look at him yourself.
30:22Let's see, you're in charge of sitting people.
30:24For that you are more dynamic,
30:26also, the godmother tells you.
30:28Don't yell at me, please.
30:30Look, you're a waiter,
30:32I was going to ask you,
30:34is that maybe I start giving a few words at the banquet.
30:36When do I do it better?
30:38In the desserts? Before? After?
30:40When you want, woman.
30:42The point is that the guests listen to you.
30:44Look, let's practice.
30:46And imagine that those tables over there
30:48are the guests.
30:50What table? The one in the gallery?
30:52The high ones, where the bookkeeper is sitting.
30:54Let's go.
30:58Oh, damn.
31:00What I just saw.
31:02What did you see, Esperanza? What did you see?
31:04Oh, what I just saw.
31:06Your friend, putting his hand on the glass,
31:08will find out.
31:10What are you doing?
31:12What are you doing?
31:14Putting your hand on the glass?
31:16Man, it's not like he's a little boy.
31:18Is he taking something? No.
31:20Excuse me.
31:22Oh, my God.
31:52Be careful, be careful.
31:54I'm sorry, I'm sorry. Are you okay?
31:56I'm fine.
31:58I thought you'd never come.
32:00You've always been very bad at making people wait for you.
32:04You don't know how eager I was
32:06to get to this moment.
32:08I thought I'd never see you again.
32:10I can't believe I'm here with you.
32:12I'm sure this isn't a dream.
32:14This isn't a dream.
32:16And if it is, please, let no one wake us up.
32:18And if they're going to wake us up,
32:20what's wrong?
32:22I heard some voices and I got scared.
32:24Hey, it's normal.
32:26We're in a park.
32:28There are people talking, there are people walking.
32:30Cesar, please, if the police find you,
32:32I don't know what to do.
32:34Listen,
32:36no one's going to find me.
32:38They're not so smart to do it,
32:40nor am I so stupid to get caught.
32:42You look beautiful.
32:44Cesar.
32:46Please, listen to me.
32:48The other day,
32:50a lieutenant came to see me
32:52because he wanted to know
32:54if you had contacted me.
32:56A lieutenant?
32:58Yes. Who?
33:00I don't know, a guy named Lorenzo, I think.
33:02He was asking me questions
33:04and he told me that you'd end up in prison
33:06or in the cemetery.
33:08Look at me.
33:10You know I'm a man of my word.
33:12Look at me.
33:14I'm not going to end up anywhere.
33:16What are you going to do?
33:18You can't go on like this.
33:20That's what I wanted to talk to you about.
33:22I'm going to New York.
33:24I have everything planned.
33:26In two days, I'm boarding from Lugo.
33:30I'd like you to come with me.
33:32But, honey,
33:34what are you saying?
33:36I'd like to invite you to the best banquets,
33:38to try the best wines,
33:40to see the most wonderful shows in the world.
33:42But I can only offer you
33:44to run away with a fugitive.
33:46No.
33:48You're not a fugitive.
33:50You're the love of my life.
33:52I want us to start from scratch.
33:54I want us to fulfill the dream we always had.
33:56To have a jazz club in New York
33:58or in California.
34:00I don't care where.
34:02Give it to me, Maria,
34:04to make you the happiest woman in the world.
34:08I don't need any of that, Cesar.
34:10I only need you.
34:12But...
34:14I know it's complicated.
34:16You have a life in Madrid
34:18and you can't be away from your uncle and your sister.
34:20I'm sorry I can't give you more days.
34:22I only have two.
34:24That lieutenant is looking for me.
34:32I promise I'll think about it.
34:34I promise.
34:42I love you.
35:04Don't bother yourself so much.
35:08Aren't you going to pick up the phone all day?
35:10Who's not going to pick up the phone?
35:12It was Celia Gámez.
35:14A magazine star.
35:16I can't get in touch with her.
35:20Maybe she's busy with some show.
35:22Have you talked to her representative?
35:24No, I'm not going to talk to that impressive guy.
35:26He's a snob.
35:28Besides, I'm sure he hasn't told her anything about the party.
35:30In the end,
35:32Madrid Cabaret's repertoire
35:34is going to end up in that.
35:36I want it and I can't.
35:38It's not all lost.
35:40I'm sure a lot of people will go.
35:42And if that's not the case,
35:44at least you've tried.
35:46It's already a lot for everything you're going through.
35:54Iñigo,
35:58you know how the people of this city are.
36:00We'll have to keep in mind
36:02that we're going to be in La Diana constantly.
36:04Or at least for a few days.
36:08What would have been worse
36:10if it hadn't been for you?
36:14If you don't get to talk to Inspector Jiménez
36:16and tell him about the buttons,
36:18people would still
36:20suspect me.
36:26Is something wrong?
36:28I know that
36:30this isn't a big deal,
36:32but these days you seem a little worried.
36:39It's not what people think,
36:41what worries me.
36:49Then what is it that worries you?
37:03Is there something I haven't told you?
37:09I knew that your jacket
37:11was missing a button
37:14long before the police showed up.
37:19What are you trying to tell me with all this?
37:24That when Inspector Jiménez
37:26found a button next to Carla's body,
37:28she already had what she wanted.
37:31That it was a test against you.
37:33Is that your jacket?
37:35Of course it's mine.
37:37You can see that it's missing a button.
37:41I'm sorry to tell you that the button
37:43found in the river is exactly the same
37:45as the others in the jacket.
37:47I think you're going to have to give me
37:49a lot of explanations.
37:51Yes, well, but you yourself
37:53told the inspector
37:55that those buttons are very common
37:57and that half the men in Madrid have them.
37:59That's why they wanted the test.
38:01That the button you found in the river
38:03is the most common button model
38:05in all of Spain.
38:07Practically half the men in Madrid
38:09use that button.
38:11Among them,
38:13the ones of many police officers, by the way.
38:21That's a lie, isn't it?
38:23You can buy hundreds of them
38:25at any grocery store in Madrid.
38:27Inspector, that button
38:29could be anyone's.
38:32But it's not true.
38:36I lied.
38:40What do you mean you lied?
38:42You're scaring me.
38:45None of those buttons were the same
38:47as the ones in your jacket.
38:49You showed it to him yourself.
38:51But those buttons aren't yours.
38:53What do you mean they're not mine?
38:55They're not yours.
38:57I went to a grocery store myself
38:59to buy some buttons
39:01that were identical to those in your jacket.
39:05Let's go.
39:36So...
39:39You lied to the police
39:41to cover me up.
39:48So why did you call me?
39:50I have a lot of things to do.
39:52I'll say it again, Mrs. Lázara.
39:54The security guards will be on strike tomorrow and the day after.
39:57I know that.
39:59I'm the manager of this salon
40:01and I know what's going on.
40:03What I expected from you was a solution.
40:05The only solution
40:07is to call another company
40:09so they can send two more security guards.
40:12Leave it to me.
40:14I just thought of something.
40:16Listen, Mrs. Lázara,
40:18I was about to call you.
40:20A salon like La Moderna can't be without security guards.
40:22I'll call them.
40:24It's my duty.
40:26I was already with the management.
40:28Let me call them so you can...
40:30I said I'll call them.
40:32They're on strike and they're destroying the country.
40:34Ea, you don't have anything else to do.
40:36You can go home.
40:38It's time.
40:40Don't look at the time.
40:42It doesn't matter.
40:44She spends too much time in the salon lately.
40:46What's wrong with that?
40:48I'm very committed to my job.
40:50You know that.
40:52That's fine, but you should be more committed to your personal life.
40:54I'm sorry?
40:56Don't take it the wrong way, Teresa.
40:58But it looks like
41:00you spend more time between these four walls
41:02than outside.
41:04And I'm worried.
41:06Don't worry so much.
41:08Because I have
41:10a lot of personal life.
41:12And very busy, too.
41:14Very good.
41:16I'm glad.
41:18And you know that the job of a manager
41:20is to be the first to arrive and the last to leave.
41:22That was before,
41:24when there was no manager.
41:26Luckily,
41:28I'm the one who's responsible for Mr. Fermin.
41:30So, go home.
41:34That way,
41:36you can have that busy life.
41:38Very good.
41:40Thank you.
41:58This can't be happening.
42:00This is a nightmare.
42:04And the worst part is that you didn't tell me before.
42:06But what was I going to do?
42:08Ñigo, what was I going to do?
42:10There was no explanation
42:12so that there would be a button.
42:14Say it.
42:16Say what you're thinking.
42:20What do you think?
42:22That I'm not innocent?
42:24Don't you realize that it's very painful for me, too?
42:30I don't believe anything, Matilde.
42:32Nothing.
42:34Ñigo, I've helped you.
42:36I could have been accused of conspiring
42:38or of covering up a crime
42:40or an accomplice.
42:42Do you really think so?
42:46I know you're not.
42:48But there are things that don't make sense to me.
42:50Tell me if you think I'm a murderer.
42:54I didn't say that.
42:56Well, you haven't denied it at any time.
43:00I can't trust you.
43:04No.
43:06And you don't have to come to Madrid tonight, Cabaret.
43:08I've had enough disappointments for today.
43:34Ñigo.
43:40Ñigo.
43:42How are you?
43:44Why don't you have a drink and relax?
43:46The party has just begun.
43:48I wish you were right, Laurita,
43:50but as you can see, the place is not even half full.
43:52Well, because it's a party
43:54and people don't come to parties on time.
43:56It would be a meeting, right?
43:58By the way, I haven't seen Matilde yet.
44:00She's not coming?
44:02No, I don't think so.
44:04Why? Is she not feeling well?
44:06Exactly. She's not feeling well
44:08and has decided to stay at home.
44:10Well,
44:12I'm going to say hello to some customers.
44:14Thank you.
44:22What about Matilde?
44:24Isn't she with Ñigo?
44:26No, she's not coming.
44:28So she's supporting you in everything she can.
44:30Yes, but she's not feeling well.
44:32She met Matilde and she's not feeling well.
44:34Ñigo plays a lot.
44:36Ladies,
44:38I'm sorry to interrupt,
44:40but this is Ernest Hemingway,
44:42the writer I told you about.
44:44My goodness.
44:46Ladies.
44:48My pleasure.
44:50Nice to meet you, Mr. Hemingway.
44:52Do you mind if I call you Ernesto?
44:54Ladies,
44:56you can call me whatever you want.
44:58My friends and I didn't know your work,
45:00but I'm going to solve it right away.
45:02I've commissioned the novel
45:04that I've set up here in our country,
45:06The Sun Also Rises.
45:08Rises.
45:10But that hasn't been published in Spanish.
45:12Well,
45:14I have my contacts abroad
45:16and I've been able to get a copy in English.
45:18In English?
45:20Well, it's hard for me to understand it in Spanish.
45:22In English, imagine.
45:24Well, but between the two of us,
45:26Marta, you're going to love it.
45:28The description he makes of the sick people's parties
45:30is remarkable.
45:32I don't know anyone
45:34who has reflected it so well.
45:36Thank you very much for your words, Miss.
45:48Miss Garment,
45:50it's an honor
45:52to have you here at Madrid Cabaret.
45:54I was talking to your representative
45:56and he told me you had a full schedule and couldn't come.
45:58And he was right.
46:00But how could I fail you on your night?
46:02Shall we take a picture?
46:04Yes.
46:16Antonia, it's Pietro.
46:18I'm coming.
46:24Hi.
46:26Hi.
46:32What a surprise.
46:34What happened?
46:36Giancarlo won't be able to attend the wedding.
46:38What?
46:40Why?
46:42What's his problem?
46:44The problem is with the authorities.
46:46They won't let him leave the country
46:48because of his criminal history.
46:50But he has four little things.
46:52But he has four little things?
46:54Yes, I know.
46:56But there's no other way, Antonia.
46:58In Italy, it's like this.
47:00If it's no, it's no.
47:02Pietro, I'm so sorry.
47:06I'm sorry.
47:08I know how important your son's presence was for you.
47:10A lot.
47:12But I'd rather not think about it.
47:14He said we should try to enjoy it.
47:16Then listen to your son.
47:18We'll enjoy it.
47:20I'm sure it'll be a beautiful day.
47:22I'm sure it will.
47:24Although there's still a lot to do,
47:26it'll be a fantastic day.
47:32I'm leaving.
47:36Antonia.
47:38I wanted to ask you something.
47:40I've thought about wearing
47:42the same dress I wore when I married Lucia.
47:44May it rest in peace.
47:46I think a new one
47:48would cost a lot of money, right?
47:50If you don't mind.
47:52No, no, no.
47:54Quite the opposite.
47:56I didn't know how to tell you this.
47:58But I also thought about
48:00marrying the dress
48:02I wore when I married Ramón.
48:04If you don't mind,
48:06I'm making some adjustments,
48:08but...
48:10Of course I don't mind.
48:12It'll be beautiful.
48:14Thank you.
48:16He's gone to Madrid Cabaret
48:18with Laurita and Celia.
48:20You know how happy I was.
48:22Have you spoken to Esperanza?
48:24No, I haven't.
48:26There was a lot of fuss at La Moderna,
48:28but...
48:30I'll talk to her tomorrow.
48:32Tomorrow?
48:34Are you sure?
48:36Yes.
48:38Okay.
48:40Good night.
48:42Good night.
48:46Good night.
49:16¿Por qué te cuesta tanto
49:18de estar a un cumplido?
49:20Señoritas, por las buenas ideas.
49:22Cheers.
49:24Cheers.
49:26Señorita Ramón,
49:28cuando Antonia vea la firma
49:30y la dedicatoria de boda,
49:32qué contenta se va a poner.
49:34Se le pasará cuando se case.
49:46¿Estás?
50:08Arrepentida.
50:10Lo siento mucho.
50:16Lo siento.
50:18Siento haberme dejado llevar.
50:20No tendría que haber desconfiado de ti.
50:22Lo siento.
50:24Lamento que pasaras por todo eso.
50:26Venga.
50:30Pero la culpa es mía.
50:32Tú me has ayudado,
50:34pero tenemos que poder hablar
50:36de lo que sea.
50:38Cariño, el problema ha sido que me he encerrado en mí misma
50:40y no he compartido tus inquietudes
50:42o las mías.
50:44No, que tú no tienes que pedirme perdón por nada.
50:46Si no llegase por ti,
50:48yo no estaría en libertad.
50:50Y de verdad que lo siento muchísimo
50:52por todo lo que has pasado,
50:54pero, mi amor, me gustaría que
50:56miráramos hacia adelante.
50:58Los dos, como siempre.
51:00Como siempre.
51:08Es que no sabéis lo feliz que me hace
51:10que estés aquí.
51:12¿Cómo te iba a dejar solo
51:14en un día tan importante para ti?
51:22Gracias.
51:28Por nuestro amor.
51:32Por lo que somos,
51:34por lo que seremos
51:36y porque la vida nos sonría.
51:42Gracias.
52:04¿Qué iba a hacer usted el qué?
52:06Le recuerdo que eso es competencia de la gerente.
52:08Soy yo la que tiene que pedir
52:10un aumento de producción al obrador.
52:12¡Madre mía!
52:14El reportaje que ha hecho el corresponsal ibérico.
52:16Dos páginas enteras
52:18cubriendo la reapertura del Madrid-Cabaret.
52:20Bueno, y el resto de periódicos no se quedan atrás.
52:22Todos, todos se han hecho eco del evento.
52:24¿Verdad que no sé qué pretende?
52:26¿Que no sabe qué pretende? Pues yo se lo digo.
52:28Lo que pretende es que usted se sienta
52:30como un férola izquierda para que sí renuncie a su puesto.
52:32¿Se puede saber qué hace usted aquí?
52:34Eso mismo podría preguntarle yo.
52:36Yo vivo aquí.
52:38No entiendo cómo Don Fermín
52:40te está dejando seducir por esta señora.
52:44Vamos a hacer como que no he dicho nada, por favor.
52:46Pues sí que lo has dicho, Trini.
52:48Oye, de verdad, le digo a Cállate
52:50que no diga nada a nadie y va y te lo cuenta enseguida.
52:52Agustín, qué sorpresa.
52:54¿Cómo que Agustín?
52:56Laurita, él es Agustín Comas,
52:58el productor teatral que me buscó
53:00para salir en la corte de faraón.
53:02Confío en usted, no me decepcione.
53:04Yo nunca decepciono, hija.
53:06Eso espero.
53:08Como usted me dijo, los negocios tienen que irme bien
53:10para que pueda culminar mi venganza.
53:12Debes haber visto que es fundamental
53:14para las cuentas la construcción
53:16de los hoteles en Bilbao y en Barcelona.
53:18Sí, sí. Sería un empujón importante.
53:22Pero eso de momento no es viable
53:24porque hay una ley del suelo que lo impide, querida.
53:28Estoy dispuesto a esperar lo que haga falta.
53:30Pero yo no quiero que pierda el tiempo esperándome.
53:32Es que debería buscar a su nueva protagonista.
53:34Usted es mi actriz protagonista.
53:36No quiero encontrar a nadie más.
53:38Creo que deberíamos solucionar lo de los padrinos.
53:40De la madrina, creo, ¿no?
53:42Ya sabe lo que pienso.
53:44¿Y no podría reconsiderarlo?
53:46No, Antonia, lo siento.
53:48No puedo cambiar de opinión.
53:50No tengo demasiado tiempo.
53:52Una cosa es asumir riesgos y otra cosa
53:54ponerme una vida en la espalda.
53:56Necesito que me digas si has tomado una decisión.
53:58Pues es que salir de España así,
54:00tan precipitadamente, pues...
54:02Pues...
54:20Es que con mi sueldo no me llega para mudarme con Antonia.
54:24Doña Lázara me habló de algún aumento y...
54:26Y usted quiere que se haga efectivo, claro.
54:28Por favor.
54:30Esta puerta, no sé por qué no abre.
54:34No me lo puedo creer.
54:36Pues acabo de cerrar
54:38por fuera la puerta corredera.
54:40Yo creo que es el momento de que vuelvas a la escuela.
54:42¿No crees?
54:44Y yo ya no estaré en los periódicos
54:46y nadie se va a meter contigo.
54:48Tú lo que quieres es librarte de mí.
54:50Por eso quieres que vaya a la escuela.
54:52Pues creo que lo mejor
54:54es que nos pongamos cómodos
54:56porque va a ser una noche muy larga.
55:00Subtítulos realizados por la comunidad de Amara.org