Salón de té La Moderna - Ep 193
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TV ve DiziDöküm
00:00The following footage was recorded on an empty street in the city of Madrid.
00:12I've hurt you too much.
00:14I don't want to say I love you again.
00:16I love you?
00:17No, no, nothing.
00:18I'm here with you.
00:26Inés, what are you thinking about?
00:28Nothing.
00:29I was thinking that I shouldn't talk much
00:32so that my recovery is faster.
00:35I see.
00:36What did the doctor tell you about that?
00:38That I shouldn't talk too much.
00:41Anything else?
00:43What he told me isn't very positive.
00:46He told me that my vocal cords were damaged.
00:49I see, but he didn't tell you anything else?
00:51Well, 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.
00:57They prefer to keep quiet to cover their backs.
01:00Yes.
01:02You should have seen his face.
01:04It 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 he told you.
01:12Without them, he can't make a clear diagnosis.
01:15He won't be omitting information.
01:16Maybe he doesn't know.
01:18Well, look, I can't guess what that doctor is thinking.
01:21Well, but you have to give him a chance, Inés.
01:25That doctor is an eminence.
01:27He's cured many singers, hasn't he?
01:52How are you, daughter?
01:55Mother, don't worry so much and don't underestimate me.
01:58I'm going 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.
02:16I'm sorry.
02:17I think it's more than enough reason.
02:20Carla, dear.
02:22Why don't you try to forget?
02:24Forget everything.
02:26You've suffered a lot.
02:29You could start a new life, leave.
02:31Leave all this behind.
02:33I have everything, everything prepared.
02:35You just choose the day and you've done the rest.
02:38Mother, I know you're trying to protect me and you think that's best for me,
02:42but I've already told you.
02:44I'm not going to run away.
02:45Don't be so capricious, daughter.
02:48You're really going to ruin your existence because of a bastard who's broken your heart.
02:52He's going to remember me for the rest of his life.
02:59You've suffered enough, daughter.
03:03I've already decided.
03:05And I would like to be able to count on your help.
03:09I just ask you to think about it a little more before you get in the way.
03:13It's more than I thought.
03:16So don't try to convince me because it's useless.
03:23I know you're not sure,
03:25but I'm very sure you're going to go back on stage
03:28and you're going to leave all your audience stunned.
03:32I prefer not to get my hopes up, Laurita.
03:34Because if I don't recover in the end, the disappointment would be huge.
03:38Well, I understand what you're saying, but don't get the worst of it.
03:42What we have to do is make plans to distract you.
03:45We could go help Celia paint the back of the store.
03:51What an illusion.
03:53Well, we'll paint a little, see how it goes,
03:55and then we can go see the show.
03:57I don't know.
03:59I don't know, Laurita. I'd rather stay at home.
04:02I don't want to infect my mood with either of you.
04:05Are you sure?
04:07Yes. If I change my mind, I'll call you at the store.
04:11Okay. I'm leaving, but I'll keep an eye on you.
04:41Yes?
04:43Inés, how are you?
04:45Bésar.
04:47I've been thinking about you all day.
04:49Do you remember we met this afternoon?
04:51Yes, yes, of course I remember.
04:53I haven't slept thinking about seeing you.
05:01Well, did you look at the documents I left you?
05:07Read to Fabio what you wrote down in the contract I gave him.
05:11I asked for 5% of the rent for the furniture in Seville.
05:145%?
05:16I asked for 10%.
05:19I don't know what Fabio is going to do with his life now.
05:22He doesn't care.
05:24He asks me to help him, but then he doesn't do what I tell him.
05:27I don't understand him.
05:29Tell him it was a deal. Tell him to change it.
05:33Listen to me, daughter.
05:35Without a company, without benefits, and without liquidity,
05:39there's no money.
05:41There's no possible revenge. Do you understand me?
05:44I know.
05:47I know you know.
05:49But from time to time it's good to shorten it.
05:53I'll see what I can do with Fabio and the issue of percentages.
06:11I'm sorry.
06:16Antonia, don't take too long and give me the guest list.
06:19What do you mean I'm not going to the press to take care of the invitations?
06:23Well, I have a lot of things on my mind.
06:25So I don't even know where to start.
06:28Well, make a list and give me the first one.
06:31Yes, yes. I'm sorry, but I still don't know exactly who I'm going to invite.
06:35Antonia, well, you know you can count on us.
06:38And if you need any kind of help, just let us know.
06:41Order!
06:42If you have to ask something, come and tell me.
06:45That's why I'm the matrine of the wedding and the one who organizes everything.
06:48Do you understand?
06:49Yes, yes. Well, Esperanza, you don't have to take care of everything.
06:52I can do things too.
06:53And here Elía also wants to help.
06:55Antonia, as long as you focus on looking pretty and being happy.
06:58Well, and make me the guest list.
07:00Elía, are you invited?
07:01Of course, woman.
07:03But if I'm the parsley in all the sauces, Esperanza.
07:06By the way, Antonia, will there be a dance?
07:08What did I tell you? Ask me the questions.
07:11Well, I'll do it to you. Will there be a dance?
07:13I imagine there will be a dance at your wedding.
07:14Because dancing is the most important thing.
07:15Apart from the boyfriends.
07:17Please, you don't have to take it to your chest, Esperanza.
07:20Come on, hurry up.
07:21Spain doesn't get up alone to work.
07:23Well, write it down about the dance.
07:24Yes, I'll write it down.
07:25Come on, man.
07:27Don't worry, Antonia, I have everything under control.
07:30It's just that I couldn't have chosen a better matrine than me.
07:33Well, I'm leaving, because apart from solving the wedding, I also have to do my job.
07:38Oh, look at him.
07:39Since he's been engaged, I don't see him 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.
08:05Don't worry about me.
08:06Well, I'm not very boring.
08:09If I'm careful, I find a way to have a good time.
08:13Well, since you're not boring,
08:16I'm sure you'll also find it very fun to help me with what I ask of you, right?
08:21By the way, Miguel.
08:25My father is coming to talk to you later,
08:27so don't tell me later that I didn't tell you.
08:31And what does Don Salvador want to talk about?
08:34He asked me not to tell you.
08:36He made me promise what, according to him,
08:38I really like to talk and I immediately go away.
08:42Well, I'm not asking you to tell me exactly what he told you,
08:45but a little clue.
08:47Is it good or bad?
08:48Well, it's not necessary, because he's coming.
08:51So ...
08:52I was about to tell you, but ...
08:55Hey, a piece of advice.
08:57Don'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?
09:07Well, look ...
09:09I'm very curious about the fajete.
09:14Well, me too, because I don't know what it is.
09:18Are you sure, Miguel?
09:22Well, yes, I have some idea.
09:25In that case, I'm willing to listen to everything you have to tell me.
09:32Let's see, Don Salvador,
09:33because of circumstances that do not come to mind,
09:37I saw myself in the need to complement the salary of the bookshop
09:41with an additional income.
09:43That's why I had to look for a job.
09:47Selling fajas in my bookshop.
09:51I ask you, please, not to fire me.
09:53I beg you, Don Salvador, I will not sell fajas again.
09:56I promise you.
09:57And I will focus on books and the bookshop, as I have always done.
10:00What you have done is very wrong, Miguel.
10:03You have betrayed my trust.
10:06And you have used my bookshop to sell a disgusting product.
10:10You are absolutely right, and I am very ashamed.
10:14And little else can I say that you are right, and I'm sorry.
10:17Salvita, please leave us alone for a moment.
10:22Well, I'll go to the gallery to have a drink.
10:26But don't be long, I still have a lot of inventory left.
10:34Don't think you've gotten rid of the threat of firing, okay?
10:37I tell him I was wrong and it won't happen again.
10:40If he behaves as he should, his job is not in danger.
10:43I will not do anything like that again.
10:45Nowhere, not here, not anywhere.
10:48Goodbye fajas.
10:49In short, they squeeze and what are they for?
10:51There is something I could do to forgive him
10:54and to forget this unpleasant incident.
10:58Trust me, Miguel.
11:00I need you to domesticate my son.
11:03Domesticate?
11:04Come on, Miguel.
11:05Don't tell me you haven't noticed that he's a retarded vagabond.
11:09Make him a man made and right.
11:11Even try to instill some habit in him
11:14that goes beyond playing the tambourine and running errands.
11:20And if I don't get it?
11:23And if you don't get it,
11:25I will suddenly remember that you have been selling fajas in my bookshop.
11:32Are we?
11:36It's over.
11:37Good afternoon.
11:48But when are you going to tell Esperanza that it will not be the subject of our wedding?
11:52Pao Pietro, I swear, but I couldn't.
11:54She is very excited, it seems that she is going to marry her.
11:57But don't worry, I'll do it.
12:00Come on, as soon as possible, please.
12:03The more illusions are made, the harder the deception will be.
12:07Just think that this woman takes me from arm to arm,
12:10cold sweats enter me.
12:11I think you're exaggerating a little, right?
12:14But don't worry, I'm going to do it, I promise.
12:17Hey, have you found a way to let your son know, by the way?
12:20Yes.
12:21Yes?
12:22Yes, yes, they have given me the number of a tavern,
12:24of the town where I live now.
12:25When I can, I'll call you.
12:26Oh, I hope I can come.
12:28It will make you just as excited to marry me.
12:31Yes, it would make me very excited.
12:33I was thinking about something that you told me yesterday,
12:36that you will miss not living in La Corrala, right?
12:40Well, yes, but come on, don't get bitter with that either,
12:43that one does everything.
12:46We could rent the apartment where Matilde's family lives.
12:50It's free.
12:51Is it true?
12:53Oh, we could talk to Don Braulio's children.
12:56Yes, I will try to find them and we will see what they ask for the rent.
13:01Perfect, yes.
13:03Oh, I would be very excited to be able to stay after our wedding.
13:08Thank you.
13:27One, two, three, four, five, six, seven.
13:31Of course, painting is not your thing.
13:33Why do you say that?
13:34Well, because you have more paint on your face than you've put on the walls.
13:37Well, those are details.
13:38Oh, yeah, details.
13:40And why don't I finish painting and you finish making the inventory?
13:43And so we'll know what we need and what we don't,
13:45that we open in a week and we don't have time.
13:47No, not at all, I'm going to keep painting.
13:50By the way, then I want to go for a walk with my sister,
13:54before going to the Madrid-Cabaret party.
13:57She has a lot of memories of that place and she doesn't want to go back.
14:02Good morning.
14:04I see you are preparing the opening.
14:06Yes, the truth is that we are a little late.
14:09And how are you? Nervous?
14:11Nervous?
14:12Well, the truth is that a little, yes.
14:14I play a lot at this party.
14:16And if it doesn't go well, that will mean that people have turned their backs on Madrid-Cabaret
14:20and whatever that means.
14:21But well, I try not to think about it and focus on getting everything out as best as possible,
14:26because then the rest is not in my hands.
14:30But that's not going to happen.
14:32Because I've talked to four newspapers that have confirmed your attendance.
14:37Let'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 you can still choose a poster that puts my name on it.
14:52Hello.
14:53Hello.
14:57Hey, I wanted to apologize for yesterday's incident.
15:01I wasn't nice. I hope you didn't think I wanted to make fun of you.
15:05I don't even remember.
15:08It's just that as soon as I see the occasion, I start making a fuss.
15:11That's how I am.
15:13Yeah, well, they pay me to clean, not to beat up the clients.
15:17Well, girl, I'm more of a partner.
15:19Don't you see that I work in the bookstore?
15:21Work, work, and I see you here as a chacha.
15:23Well, that. Much better here, with you.
15:28Oops, what a bad leg.
15:31You just threw the bet. I'm not going to clean it.
15:34No, it was unintentional.
15:36No, it was unintentional.
15:37Good morning, sir. Do you want anything? Some candy? Some pasta? Anything else?
15:41Well, the horchata has fallen. Clean it, please.
15:44Well, the horchata has fallen. Clean it, please.
15:46Before the gentleman can stain it.
15:48No, no, you don't have to. I'll clean it.
15:50No, I'll clean it. It's my job.
15:52Well, bring me the most exquisite of your card.
15:56Regardless of what it's worth.
15:58Surprise me. My father pays.
16:00Remember, the most delicious thing you have.
16:02Interesting choice. I assure you that I will not let you down.
16:05Excuse me.
16:10Have you already spoken to Celia Gamez?
16:12No, the truth is that I can't get her to put on the phone.
16:15Yes, it is true that I have the contact of his representative.
16:18What happens is that this man is a bit ... clumsy.
16:21Come on, let's not get along today.
16:23Well, 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.
16:32Yes, yes, I also think the same as you, but ...
16:34It's just that I see it more and more complicated.
16:36I see.
16:38Well, I don't know, maybe I can take a slightly special guest.
16:44And can I know who you are talking about with such mystery?
16:47Let's see, it has nothing to do with the BBC, but it has its audience.
16:51But until I'm sure, I ...
16:55You are very intrigued.
16:57But well, in the meantime, I will continue to try to contact that representative.
17:01But this time I will not call him.
17:03I will introduce myself in person and talk to him.
17:05Well, by the way, I haven't told you before,
17:07but if you want, I can put you in contact with a squad of workers to help you with the works.
17:13I have very good contacts in construction and if you tell him that you are on my side,
17:17I'm sure he will give you half the price.
17:19Well, the truth is that we would appreciate it very much.
17:21So if you can make that call, it would be great.
17:24Consider it done.
17:26Celia.
17:28Thank you very much for everything you are doing for me.
17:31And you too, Laurita.
17:33I hope you have a good day.
17:34Goodbye.
17:38No, no, no, no, you stop painting, huh?
17:41Yes.
17:42No, no, I just started.
17:43But then how could you have stained yourself so much, again?
17:47Let me.
17:59Hey, it was just a joke.
18:02Do you forgive me?
18:04I like to be silly, but I tell you that I don't have a bad background, huh?
18:07I agree.
18:08In the first thing you said, in the second, I don't even know and I don't care.
18:12I would like to have a more peaceful conversation with you.
18:15Yes, well, I don't know how it's going to be possible because I don't feel like it.
18:19At least you could tell me what your name is.
18:22Leave me alone.
18:23Oh, what a beautiful name.
18:26I'll try again.
18:28What?
18:29Mine is, I'll try again.
18:37Wow, what a look.
18:40I wanted to ask you a question. How did we end up?
18:43Didn't Miguel tell you everything about me?
18:46No, of course not, man. I 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.
19:04You know it.
19:05You saw Don Fermín yesterday, right?
19:07Yes, I told him that I wanted to work here again.
19:12Not as a waitress, but to organize events and events in the upper part of the hall.
19:17Let's see what he says.
19:18Well, I hope he says yes.
19:20I would love to see you here again. I miss you a lot.
19:22And I'm not the only one, huh?
19:24And I miss you too. Especially you.
19:29Are you okay, honey?
19:32Yes.
19:33Antonio, these weeks have been very difficult.
19:36I'll take care of it.
19:38I'll take care of it, honey.
19:40When they accused your brother, it was terrible.
19:43Yes, and now we have to face that again.
19:46Life is taking its course with us.
19:49Yes, honey.
19:50But the bad streak, just like it comes, goes away.
19:54You have to look to the future.
19:57Yes.
19:58Yes, I hope this bad streak ends as soon as possible.
20:01Because the truth is that I don't know how much strength I have to endure this mess.
20:05You are a very strong woman.
20:07Very strong and very determined.
20:12Is 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 a distributor for La Fajete.
20:22Well, I don't know, but he found out.
20:24And you got rid of a fat woman.
20:26Yes, yes, I got rid of a fat woman, but they have given me another one.
20:29What are you talking about?
20:30Well, because he wants me to straighten his son.
20:33And with the event that is done.
20:35So you can't sell fajas, 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?
20:45Because you, with how soft you are ...
20:47Man, Tini, soft, soft.
20:48I don't know if I'm the word, but ...
20:50Come on, I don't see myself getting anyone in trouble.
20:53And much less Salvita, who is a professional vagabond.
20:56You have to admit that he is the best at his thing.
20:58Well, what will happen if you don't get it?
21:01Well, my job is in danger, nothing less.
21:03Well, you'll have to do everything possible.
21:05Now we have to focus on the Cupid plan.
21:08That's the most important thing.
21:09But I wanted to be a bookseller, and in the end I'm everything but that.
21:12Fajas seller, institute, actor.
21:14I'm going from bad to worse.
21:16Honey, since we don't show off with this Cupid plan,
21:19I tell you that this boy is going to come out,
21:21and we're going to have to say that all this is the fruit of the Holy Spirit.
21:24You're right, you're right.
21:25The first thing is the first thing.
21:26Let's see, how do we start with the Cupid plan?
21:28Well, at the beginning, falling in love.
21:31Well, pretending we're in love.
21:33And above all, it has to be something believable.
21:36Very believable.
21:38Well, I'm already in love.
21:40No problem.
21:41I just have to let go of my passion.
21:43Believable, love.
21:44Believable, believable, believable.
21:46We'll have to, I don't know ...
21:49We'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.
21:58Like a sudden romance.
22:02I think we'll need a witness.
22:04Esperanza, Esperanza will be a good witness.
22:07Well, whatever you say.
22:08But you and me, Esperanza, a plan without cracks.
22:11Come on.
22:12No, no, don't worry.
22:13Because we'll have the perfect match.
22:16What?
22:19Honey.
22:22You can tell me whatever you want, you already know.
22:25It's just that ...
22:28Well, it's just that in this process I felt a little lonely.
22:31Íñigo and I have supported each other a lot, of course.
22:33But there have also been times when I have been alone with my thoughts.
22:36Without knowing what the other person was thinking or what they regret.
22:41Don't you trust him?
22:42Of course I do.
22:43He's a wonderful man and he's been through a lot, but ...
22:48I wonder if we get to know someone completely.
22:51Yeah.
22:53Well, we all have our things, right?
22:57No one is perfect.
22:59Maybe you're in a sadder, more tired moment and ...
23:03And you can't show that happier part that you're used to, but ...
23:08That's also marriage, right?
23:12Yes.
23:13Show the less cheerful, sadder part of one.
23:17Yes, I respect their silences.
23:19I also have mine.
23:21And I'm not perfect, much less.
23:24Eka goes through a lot, honey.
23:27For a long, very short time.
23:30But you'll see how it all works out.
23:33Uh-huh.
23:37Trini, my love, don't you think we've gone too far with Cañete?
23:40We have him fried, the poor man.
23:42Well, don't worry, because you're going to ask him for a favor and he's going to say yes.
23:46No, I don't dare to say anything right now.
23:49I have enough to be in charge of Salvita.
23:52By the way, he's been alone for a long time.
23:54He has also put all the tuna in the bookshop.
23:56Well, okay.
23:58See you after lunch.
23:59Don't forget that we're going to start with the plan.
24:02The plan, I beg you.
24:03Yes.
24:09Cañete, look, I was just looking for you.
24:12Tell me, Trini, what do you need?
24:14Well, let's see, you know that Don Fermín has taken away the rule that married women can't work in the modern one, right?
24:20Well, we have decided that Miguel and I are not going to tell him that we are married.
24:25Yes, we are going to pretend that we are in love, that we are falling in love right now.
24:31And, well, we need you to help us.
24:33And I think you are the person ...
24:34No, no, no, I'm sorry, Trini, but right now I'm not in the mood for these games.
24:38And more since what happened to me yesterday with Mrs. Lázara.
24:41What happened to you with Mrs. Lázara?
24:46Well, according to Teresa, Mrs. Lázara is after Don Fermín.
24:50But I don't know what to think.
24:52What's more, every time I think about it, my body gets bad.
24:55Well, if Teresa says it, it will be true.
24:58Because besides, we always have a sixth sense with all these things.
25:02Well, she must have spoiled it with me.
25:05All that doesn't want to realize that I love her with all my soul.
25:08Cañete, I've told you many times that you have to give her time.
25:13And while you give her time, you could help us.
25:18Come on.
25:19I haven't cheated.
25:23Yes, 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 Ñego and I want to be up to it.
25:37Sure, and more with the artist that he will have called.
25:39Yes, although there is bad news.
25:42What?
25:43Celia Gámez's representative has called to say that she can't come.
25:47Perfect, thank you very much.
25:49See you later.
25:50See you later.
25:52Well, well, well.
25:53You don't know who is going to come to the party tonight.
25:57Not for your face, at least Rodolfo Valentino, right?
26:00No, no, no, no.
26:01Nothing more and nothing less than Ernest Hemingway.
26:03Ernest what?
26:04But what is he?
26:05Because he has the name of a painter or a photographer.
26:07No, no, no, no, no.
26:08He is a North American writer.
26:10He was a correspondent in Paris.
26:11And you don't know how well he writes.
26:13The press is going to be stunned.
26:16That's great, thank you.
26:17Yes, yes, yes.
26:21How handsome.
26:25How do you see it?
26:26I didn't know if I should wear this or the green one.
26:28You have so many dresses.
26:29Let's see, the truth is that all of these look good on you.
26:31But I like this one the most.
26:33Besides, I have a lot of affection for it.
26:34Well, I gave it to you.
26:36You are very handsome, but you are missing something, Marta.
26:39Something?
26:40Inés, don't tell me that.
26:41How hard it has been for me to put on this dress.
26:43No, no, no, I know where Inés is going.
26:45Marta, let yourself go.
26:47Of course, Carpe Diem.
26:48Look, you're missing some earrings.
26:55Look.
26:56Which one do I choose?
26:57Well, look, I think these can look very good on you.
27:02Come on, you see?
27:03Yes, let's see.
27:08Inés, I'm sure you don't prefer that I stay here with you.
27:11I can leave any other day.
27:13No, no, no, no, and lose the great writer.
27:15No, no, not even talk.
27:16Don't tell me I'm serious.
27:17I prefer to be with you.
27:18Laurita, I'll be fine.
27:19Really.
27:20You promise me that you are going to enjoy yourself and that you will take something in my health.
27:23I promise.
27:25And what are you going to do?
27:27Well, I'm going to go to bed because I'm exhausted.
27:30Well.
27:31Well, nothing, girls.
27:32Then if you are, we are leaving now.
27:34If we don't arrive late.
27:35Ready.
27:36Come on.
27:37Let's go.
27:40Rest.
27:41No.
27:42Goodbye.
27:43Goodbye, Inés.
27:44Have fun.
27:45Thank you.
28:09You'll see.
28:10This is going to be phenomenal.
28:13Okay?
28:14I'm going to try, Trini.
28:15I'm going to try.
28:16But I'm not a good actor.
28:18Trini, whatever you want, but an actor?
28:22Well, you take a deep breath, okay?
28:24Calm down and repeat with me.
28:27The Cupid plan is going to be perfect.
28:29Yes.
28:30No, you have to repeat it.
28:31The Cupid plan.
28:32Cupid plan.
28:33Cupid plan.
28:34Cupid plan.
28:35Cupid plan.
28:36Cupid plan.
28:37Cupid plan.
28:38Cupid plan.
28:39Cupid plan.
28:40Cupid plan.
28:41Cupid plan.
28:42Cupid plan.
28:43Ready?
28:44Okay?
28:45Let's go, team.
28:46Everyone to their positions.
28:47And above all, first of all, naturalness.
28:49Okay?
28:50Yes, let's go.
28:51Come on.
28:52Come on.
28:53Come on.
28:54Come on.
28:55Come on.
29:06Hey, Esperanza.
29:07How's the morning going?
29:09A lot of fuss in the hall?
29:11Well.
29:12As usual.
29:14Why?
29:15Did the vampire tell you something?
29:17No, no, woman.
29:18What's up?
29:19But I do seem to see traces of candy there on those tables.
29:25I don't know what candy you may have seen.
29:27The floor is that it's nice to see it.
29:30Yes, man, woman.
29:31I've seen it where the bookcase is sitting.
29:33No, man.
29:34It's all clean.
29:35Look, I was going to tell you.
29:36I need someone to sit people in the church for Antonia's wedding.
29:40Are you busy?
29:43What are you doing?
29:44Are you listening to me?
29:45Yes, of course I'm listening to you, Antonia.
29:47I mean Esperanza.
29:49And I thank you for asking me.
29:51But I have an idea.
29:53Why don't you propose it to the bookseller?
29:57He's very kind, he has a good job.
29:59Look at him.
30:00Look at him.
30:01It's just that I don't trust him.
30:03He's a lot of rat.
30:05What does that have to do with making the task?
30:07Well, because he starts talking,
30:09people are accumulating,
30:11a queue is made,
30:12and then we don't fix anything.
30:13No, woman.
30:14You look at him well.
30:15Look at him.
30:16Look at him.
30:17Look at him.
30:18But hey, what the hell has he given you to look at him?
30:20Look at him yourself.
30:21Let's see.
30:22You take care of sitting people.
30:23For that you are more dynamic.
30:25Besides, the godmother tells you.
30:28Don't yell at me, please.
30:30Look, you're a waiter.
30:32I was going to ask you.
30:33It's just that maybe I start giving a few words at the banquet.
30:36When do I do it better?
30:37At the desserts?
30:39Before?
30:40After?
30:41When 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 are the guests.
30:49What table? The one in the gallery?
30:52The high ones, where the bookseller is sitting.
30:54Yes.
30:59Oh, Cagnetti.
31:00What I just saw.
31:01What did you see, Esperanza?
31:02What did you see?
31:03Oh, what I just saw.
31:05Your friend, putting his hand on the glass, will find out.
31:10What are you doing?
31:11What are you doing?
31:12Putting your hand on the glass.
31:14It's not like you're a little boy.
31:16Are you drinking something?
31:17No.
31:18Come on, get out.
31:19Excuse me.
31:20Come on, man.
31:23My God.
31:39My God.
31:56Careful, careful, careful.
31:57Oh, I'm sorry, I'm sorry.
31:58Are you okay?
31:59I'm fine.
32:00I thought you'd never come.
32:02You've always been very bad at making people wait for you.
32:05You don't know how eager I was to get to this moment.
32:09I thought I'd never see you again.
32:11I can't believe I'm here with you.
32:13I'm sure this isn't a dream.
32:14This isn't a dream.
32:15And if it is, please, no one wake us up.
32:18And if they're going to wake us up, it'll be in a few minutes.
32:20What's wrong?
32:21What's wrong?
32:22I heard some voices and I got scared.
32:25Hey, it's normal.
32:27We're in a park.
32:28There are people talking, there are people walking.
32:30Cesar, please, if the police find you, I don't know what to do.
32:33Listen, no one's going to find me.
32:36They're not so smart to do it, nor am I so stupid to get caught.
32:40You're beautiful.
32:44Cesar.
32:45How beautiful, please.
32:46Please, listen to me.
32:47What's wrong?
32:51The other day, a lieutenant came to see me because he wanted to know if you had contacted me.
32:56A lieutenant?
32:57Yes.
32:58Who?
32:59Well, I don't know, a guy named Lorenzo, I think.
33:01He was asking me questions and he told me that you would end up in prison or in the cemetery.
33:08Look at me.
33:09You know I'm a man of my word.
33:12Look at me.
33:14I'm not going to end up anywhere.
33:17What are you going to do?
33:18You can't go on like this.
33:19That's what I wanted to talk to you about.
33:23I'm going to New York.
33:25I already have everything planned.
33:27In two days, I'll embark from Lugo.
33:30I would like you to come with me.
33:33But my love, what are you saying?
33:36I would like to invite you to the best banquets, to try the best wines, to see the most wonderful shows in the world.
33:43But I can only offer you to run away with a fugitive.
33:46No.
33:47You are not a fugitive.
33:50You are the love of my life.
33:51I 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.
33:59I don't care where.
34:01I would do anything to make you the happiest woman in the world.
34:08I don't need any of that, Cesar.
34:11I only need you.
34:13But...
34:15I know it's very complicated.
34:16You have a comfortable life in Madrid and you can't be away from your uncle and your sister.
34:21I'm sorry I can't give you more days.
34:23I only have two.
34:25That lieutenant is looking for me.
34:32I promise I'll think about it.
34:34I promise.
34:54Don't bother yourself so much.
34:57Aren't you going to pick up the phone all day?
35:00Who isn't going to pick up the phone?
35:03Cecilia Gamed.
35:05A star in the magazine.
35:07I can't get in touch with her.
35:11Maybe she's busy with some business.
35:14I don't know.
35:16I'll call her.
35:18I'll call her.
35:20I'll call her.
35:21Maybe she's busy with some show.
35:24Have you talked to her representative?
35:26No, I'm not going to talk to that unrecognizable guy.
35:28He's a snob.
35:29Besides, I'm sure he hasn't told her anything about the party.
35:32In the end...
35:34Madrid's repertoire is going to end up like that.
35:37I want to and I can't.
35:38It's not all lost.
35:40I'm sure a lot of people will go.
35:42And if it's not like that, well...
35:44At least you've tried.
35:46It's too much for everything you're going through.
35:52Inigo...
35:54You know how the people of this city are.
35:57We'll have to keep in mind that we're going to be on the agenda all the time.
36:01Or at least for a few days.
36:07What would have been worse if it hadn't been for you?
36:11If you don't get to talk to Inspector Jiménez...
36:14And you tell him about the buttons, people would still...
36:17suspect me.
36:22Is something wrong?
36:24I know this isn't a big deal, but these days you seem a little worried.
36:34It's not people's opinion that worries me.
36:37Then what is it that worries you?
36:53Is there something I haven't told you?
36:56No.
36:58I'm sorry.
37:00I'm sorry.
37:02I'm sorry.
37:04I'm sorry.
37:06I'm sorry.
37:11I knew your jacket was missing a button...
37:15long before the police showed up.
37:20What are you trying to tell me with all this?
37:26When Inspector Jiménez found a button next to Carla's body, she already had what she wanted.
37:32It was a test against you.
37:34Is that your jacket?
37:36Of course it's mine.
37:38Well, there's a button missing here. Can you see it?
37:41I'm sorry to tell you that the button found in the river is exactly the same as the others in the jacket.
37:47I think you're going to have to give me a lot of explanations.
37:50Yes, well, but you yourself told the inspector...
37:54that those buttons are very common and that half of the men in Madrid have them.
37:58That's why they wanted the test.
38:01That the button you found in the river is the most common button model in all of Spain.
38:07Practically half of the men in Madrid's jackets use that button.
38:11Among them, the ones of many police officers, by the way.
38:21It sounds familiar, doesn't it?
38:24You can buy it in any merchant shop in Madrid.
38:27Inspector, that button could be anyone's.
38:32But it's not true.
38:35I lied.
38:39What do you mean you lied? You're scaring me.
38:44I mean, none of those buttons were the same as the ones in your jacket.
38:48You showed it to him yourself.
38:50But those buttons aren't yours.
38:53What do you mean they're not mine?
38:55They're not yours.
38:57I myself went to a merchant shop to buy some buttons that were identical to those in your jacket.
39:24So you lied to the police to cover me up?
39:49So why did you call me?
39:51Look, I remind you that I have many things to do.
39:54Look, Mrs. Lázara, the security guards at the gallery will be on strike tomorrow and the day after.
39:59I know that. I'm the manager of this salon and I know what's going on.
40:03What I expected from you was a solution.
40:06The only solution is to call another company, the one I have here on the phone,
40:10so they can send two more security guards.
40:12Well, leave it to me. I just thought of something.
40:16Look, Mrs. Lázara, whatever you tell me, but I was about to call.
40:20A salon like La Moderna can't be without security guards.
40:22I'll call. After all, it's my duty.
40:25Yes, I was already with the management. Mrs. Lázara, let me call so you can take care of the security.
40:30I said I'll call. Don't be stubborn. We have enough with the strikes that are ravaging the country.
40:34Look, you don't have anything else to do. You can go home. It's time.
40:41Don't look at the time. That's indifferent.
40:43Lately I've spent too much time in the salon.
40:46But what's wrong with that?
40:48I'm very committed to my job, you know that.
40:50And that's fine, but you should be more committed to your personal life.
40:55Excuse me?
40:57Don't take it the wrong way, Teresa.
40:59But it seems that you spend more time between these four walls than outside.
41:04And it worries me.
41:06Well, don't worry so much.
41:09Because I have a lot of personal life. And very busy, besides.
41:14Oh, very good. I'm glad.
41:16I'm glad.
41:18And you know that the job of a manager is to be the first to arrive and the last to leave.
41:23That was before, when the figure of the management did not exist.
41:26Luckily, now I am the highest responsible in front of Don Fermín.
41:31So go quietly.
41:34That way you can tend to that busy life.
41:46Come on.
41:58This can't be happening.
42:01This is a nightmare.
42:04And the worst of all is that you didn't tell me before.
42:08But what was I going to do?
42:10Ñigo, what was I going to do?
42:12There was no explanation for there to be a button.
42:14No.
42:16What are you thinking?
42:20What do you think?
42:22That I am not innocent?
42:24Don't you realize that for me it is also very painful?
42:30I don't believe anything, Matilde. Nothing.
42:33What I least expected is that you doubted me.
42:35Ñigo, that has helped you.
42:37It has helped you. They could have accused me of conspiracy or covering up a crime.
42:41Or an accomplice.
42:42Do you really believe it?
42:45I know you're not.
42:47But there are things that don't fit me.
42:49Tell me.
42:51Do you really think I'm a murderer?
42:53I haven't said that.
42:56Well, you haven't denied it at any time.
43:00I can't even trust you.
43:07And you don't need to come to Madrid tonight, Cabaret.
43:10I've had enough disappointments for today.
43:12Let's go.
43:13Let's go.
43:41Ñigo.
43:43Why don't you have a drink and relax? The party has just begun.
43:47I wish you were right, Laurita, but as you can see, the place is not even half full.
43:52Well, because it's a party and people don't come to parties on time.
43:56Otherwise it would be a meeting, right?
43:58By the way, I haven't seen Matilde yet.
44:01She's not coming?
44:03No, I don't think so.
44:05And that's because she's not feeling well.
44:07Exactly. She's not feeling well and has decided to stay at home.
44:10Well, I'm going to say hello to some customers.
44:13Thank you.
44:22What about Matilde? Is she with Ñigo?
44:25No, she's not coming.
44:27That's why she's supporting me in everything I can.
44:30Yes, but she's not feeling well.
44:32Meeting Matilde is not a good thing.
44:34Ñigo plays a lot.
44:36Darlings, I'm sorry to interrupt, but let me introduce you to Ernest Hemingway,
44:41the writer I told you about.
44:43Oh, my God.
44:45Iris.
44:47My pleasure.
44:49Nice to meet you, Mr. Hemingway.
44:51Do you mind if I call you Ernesto?
44:54Ladies, you can call me whatever you want.
44:57I know that my friends here did not know your work,
45:00but it is something that I plan to solve immediately.
45:02I have commissioned the novel that I have set up here in our country,
45:05The Sun Also Rises.
45:07Rises.
45:09Rises.
45:11But that has not been published in Spanish.
45:14Well, I have my contacts abroad,
45:16and I have been able to get a copy in English.
45:18In English?
45:20Well, it's already hard for me to understand it in Spanish.
45:22In English, imagine.
45:24Well, but between the two, I'm sure we'll get along and understand something.
45:27Marta, you're going to love it.
45:28The description he makes of the sick people's parties is remarkable.
45:33I don't know anyone who has reflected it so well.
45:36Thank you very much for your words, miss.
45:48Miss Garment.
45:50It is an honor to have you here at Madrid Cabaret.
45:54I was talking to your representative and he told me that he had the full agenda,
45:56that he couldn't come.
45:58And he was right.
46:00But how was he going to fail you on your night?
46:02Shall we take a picture?
46:04Yes.
46:16Antonia, it's Pietro.
46:18I'm coming.
46:27Hello.
46:29Hello.
46:35What a face you have, what happened?
46:38Giancarlo won't be able to attend the wedding.
46:40What? Why?
46:42What's his problem?
46:44The problem is with the authorities.
46:46They won't let him leave the country
46:49because of his criminal history.
46:52But he has four little things, poor guy.
46:54Yes, I know.
46:56There's no way, Antonia.
46:58In Italy, it's like that.
47:00If it's no, it's no.
47:02Pietro, I'm very sorry.
47:06I'm sorry.
47:08Do you know how important it was for you to have your son?
47:10A lot.
47:12But I'd rather not think about it.
47:14He said we should try to enjoy it.
47:17Well, listen to your son.
47:19We're going to enjoy it.
47:21I'm sure it's going to be a beautiful day.
47:23I'm sure it will.
47:24Although there's still a lot to do,
47:26it's going to be a fantastic day.
47:32I'm leaving.
47:35Antonia.
47:37Yes.
47:39I wanted to ask you something.
47:41I've decided to wear the same dress
47:43I wore when I married Lucia.
47:45May she rest in peace.
47:47I think a new one is too much money, right?
47:50If you don't mind.
47:52No, no, no.
47:55I...
47:57I didn't know how to tell you this.
47:59But I also thought about marrying the dress
48:03I wore when I married Ramón.
48:05If you don't mind,
48:07I'm making some adjustments, some arrangements, but...
48:09Of course I don't mind.
48:11It will be beautiful.
48:14Thank you.
48:16And Marta?
48:18She's gone to Madrid Cabaret with Laurita and Celia.
48:20You know how happy I was.
48:22And have you spoken to Esperanza?
48:24No, I haven't been able to.
48:26There was a lot of fuss at La Moderna, but...
48:29I'll talk to her tomorrow.
48:31Tomorrow?
48:33Yes, tomorrow.
48:35Are you sure?
48:37Yes.
48:39Okay.
48:41Good night.
48:43Good night.
48:55Laura writes very well.
48:57It's not true.
48:59I have an idea, but then it's hard for me to express it and put it on paper.
49:02No, no, but that's practice.
49:04The important thing is to have a good idea.
49:07And what you have said is a very good idea.
49:09I said it to relax.
49:11No.
49:12Heart. How do you say...
49:13Heart.
49:14I say it from the heart.
49:16See?
49:17Why is it so hard for you to give a compliment?
49:19Ladies.
49:21For good ideas.
49:22Cheers.
49:23Cheers.
49:27Miss, when Antonia sees the signature and the wedding dedication,
49:32how happy she will be.
49:34It will happen to her when she gets married.
49:53Matilde.
49:55Are you...
49:59Sorry.
50:01I'm very sorry.
50:09I'm sorry I let myself go.
50:11I shouldn't have doubted you.
50:13I'm sorry.
50:15I'm sorry.
50:17I'm sorry.
50:19I'm sorry.
50:20I shouldn't have doubted you.
50:22I'm sorry.
50:23I'm sorry you had to go through all that.
50:26Come here.
50:30It's not my fault.
50:32You have helped me, but...
50:34We have to be able to talk about anything.
50:37Honey, the problem has been that I have locked myself up.
50:40And I haven't shared your worries or mine.
50:42No, my love.
50:43I'm very sorry.
50:44No, you don't have to apologize for anything.
50:47If it weren't for you, I wouldn't be free.
50:49And I'm really sorry for everything you've been through.
50:54But, my love, I would like us to look ahead.
50:58The two of us, as always.
51:01As always.
51:08You don't know how happy it makes me that you're here.
51:11I thought you weren't coming.
51:13How could I leave you alone on such an important day for you?
51:19Thank you.
51:26For our love.
51:28For what we are.
51:30For what we will be.
51:32And because life smiles at us.
51:48I love you.
52:03What were you going to do?
52:05I remind you that this is the manager's competition.
52:08I'm the one who has to ask the operator for an increase in production.
52:12My God.
52:14The report that the Iberian correspondent has done.
52:16Two whole pages covering the reopening of the Madrid-Cabaret.
52:20And the rest of the newspapers didn't fall behind.
52:22All of them.
52:23They all echoed the event.
52:25I don't know what he's up to.
52:26You don't know what he's up to?
52:27Well, I'll tell you.
52:29What he's up to is for you to sit on the left so he can quit his job.
52:33What are you doing here?
52:35I could ask you that myself.
52:37I live here.
52:38I don't understand how Don Fermín is letting you seduce for this lady.
52:41Let's pretend I didn't say anything, please.
52:44Well, you did say it, Trini.
52:46Hey, I'm really telling you to shut up and don't say anything to anyone.
52:48And go, and I'll tell you right away.
52:50Agustín, what a surprise.
52:53What do you mean, Agustín?
52:55Laurita, he's Agustín Comas,
52:57the theatrical producer who asked me to appear in the court of the pharaoh.
53:00I trust you, don't disappoint me.
53:02I never disappoint you, daughter.
53:04I hope so.
53:06As you told me, business has to go well for me to be able to work.
53:09As you told me, business has to go well for me to be able to work.
53:13You must have seen how important it is for the accounts
53:16the construction of the hotels in Bilbao and Barcelona.
53:18Yes, yes, it would be an important push.
53:23But that is not feasible at the moment
53:25because there is a law of the ground that prevents it, dear.
53:28I'm willing to wait for whatever it takes.
53:30But I don't want you to waste your time waiting for me.
53:33I should look for your new protagonist.
53:36You are my leading actress.
53:37I don't want to find anyone else.
53:39I think we should solve the godfather thing.
53:42The godmother, I think, right?
53:44You know what I think.
53:46Couldn't you reconsider it?
53:48No, Antonia, I'm sorry.
53:50I can't change my mind. I don't have much time.
53:53One thing is to take risks and another thing is to put a life on my back.
53:56I need you to tell me if you have made a decision.
53:58You know, leaving Spain like this, so hastily, well ...
54:07I don't know.
54:20It's just that with my salary I can't afford to move in with Antonia.
54:24Mrs. Lázara told me about an increase and ...
54:27And you want me to make cash, of course.
54:30Please.
54:32This door, I don't know why it doesn't open.
54:35I can't believe it.
54:37I just closed the sliding door from the outside.
54:40I think it's time for you to go back to school.
54:43Don't you think?
54:45And I'll be in the papers and no one will mess with you.
54:49What you want is to get rid of me.
54:51That's why you want me to go to school.
54:53I think the best thing is for us to get comfortable because it's going to be a very long night.
55:07© transcript Emily Beynon