Salón de té La Moderna - Episodio 193
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Short filmTranscript
00:00A FEW HOURS LATER
00:12I've hurt you too much.
00:14I didn't want to leave without telling you that I love you.
00:16Go away.
00:17No, no, no.
00:18I wanted to be with you.
00:26Inés, what are you thinking?
00:28Nothing.
00:29I was thinking that I shouldn't talk much
00:33so 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
00:53if I was going to fully recover or not.
00:55Well, you know how doctors are.
00:57They prefer to keep quiet to cover their backs.
01:01Yes.
01:02You should have seen his face.
01:04It was as if he didn't want to tell me that it looked terrible.
01:08Well, maybe he didn't want to sign anything
01:10without doing all the tests.
01:12That's what he said to you.
01:13Without 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
01:20what that doctor is thinking.
01:22Well, but you have to give him a chance, Inés.
01:25That doctor is an eminence.
01:27He's cured many singers, hasn't he?
01:56How are you, daughter?
01:59Mother, don't worry so much and don't underestimate me.
02:02I plan to endure whatever it takes
02:04until I can execute my revenge.
02:07Daughter, I understand your feelings and your anger,
02:10but you're really going to ruin your life just because you have...
02:13Just to do justice?
02:15I think it's more than enough reason.
02:18Carla, dear, why don't you try to forget?
02:21Why 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.
02:37Mother, I know you're trying to protect me
02:39and you think that's the best for me,
02:41but I've already told you.
02:44I'm not going to run away.
02:46Don't be so capricious, daughter.
02:49Are you really going to ruin your existence
02:51because of a bastard who broke your heart?
02:53He's going to remember me for the rest of his life.
03:00Haven't you suffered enough already, daughter?
03:04I've already decided it
03:06and I'd like to be able to count on his help.
03:10I'm just asking you to think about it a little more
03:13before getting involved in...
03:14It'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'll 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,
03:36the disappointment would be huge.
03:38Well, I understand what you're saying,
03:40but don't get the worst of it.
03:42What we have to do is make plans
03:44and while you're at it,
03:46we could go help Celia paint the back of the shop.
03:51What a dream.
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.
04:00I'd rather stay at home.
04:02I don't want to spread my mood to either of you.
04:06Are you sure?
04:07Yes.
04:08If I change my mind, I'll call you at the shop.
04:11Okay.
04:12I'm leaving, but I'll keep an eye out.
04:41Yes?
04:42Inés, how are you?
04:44Bésar.
04:46I've been thinking about you all day.
04:48Remember we met this afternoon?
04:50Yes, yes, yes, of course I remember.
04:53I haven't slept thinking about seeing you.
05:00Well,
05:02did you look at the documents I left you?
05:06Ask Fabio what you wrote me
05:08in the contract I gave him.
05:10Tell him to raise 5% of the rent
05:12for the furniture in Seville.
05:145%?
05:16I asked him for 10%.
05:19I don't know how Fabio is going to live 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.
05:31Tell him to change it.
05:33Listen to me, daughter.
05:35Without a company, without benefits and without liquidity,
05:39there's no money.
05:40And if there's no money, there's no possible revenge.
05:42Do you understand me?
05:44I know.
05:47I know you know.
05:49But from time to time it's good to remember.
05:53I'll see what I can do with Fabio and the percentage thing.
06:09I'm sorry.
06:16Antonia, don't take too long and give me the guest list.
06:19I'm not going to the press office to take care of the invitations.
06:22Well, I have a lot of things on my mind, Esperanza.
06:25So many that I don't even know where to start.
06:27Well, make a list and give me the first one.
06:30Yes, yes.
06:31I'm sorry, 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, order, order.
06:41If you have to ask something, come and tell me.
06:44That's why I'm 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 do things too.
06:52And here Elia also wants to help.
06:54Antonia, as long as you focus on looking pretty and being happy.
06:57Well, and make me the guest list.
06:59Is Elia invited?
07:01Well, woman, of course.
07:02But if I know how to add all the sauces, Esperanza.
07:06By the way, Antonia, there will be a dance, right?
07:09I told you to ask me the questions.
07:11Well, I'll do it to you.
07:12There will be a dance, right?
07:13I imagine there will be a dance at his wedding.
07:14Because dancing is the most important thing.
07:15Apart from the boyfriends.
07:16Please, you don't have to put it on your chest, Esperanza.
07:19Come on, hurry up.
07:20That Spain does not get up alone to work.
07:22Well, 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.
07:29I couldn't have chosen a better godmother than me.
07:33Well, I'm leaving, because apart from solving the wedding,
07:35I also have to do my job.
07:37Of course.
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,
07:58could you 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 take care of myself,
08:09I find a way to have a good time.
08:13Well, since you're not boring,
08:15I'm sure you'll also find it very fun
08:18to help me with what I ask of you, right?
08:21By 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,
08:38I like to talk a lot and then I go away.
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?
08:48Well, it's not necessary, because he's coming.
08:51So...
08:52I was about to tell you, but...
08:55Hey, a piece of advice.
08:56Don'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.
09:09I'm very curious about the fajete.
09:13Well, me too, because I don't know what it is.
09:18Are you sure, Miguel?
09:22Well, yes.
09:23I have some idea.
09:24In 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 don't come to mind,
09:36I saw myself in the need to complement the salary of the bookshop
09:40with an additional income.
09:43That's why I had to look for a job.
09:47Selling pages in my bookshop.
09:51I ask you, please, not to fire me.
09:53I beg you, Don Salvador.
09:54I won't sell pages again.
09:56I promise.
09:57And I will focus on the books and the bookshop, as I have always done.
10:00What you have done is very wrong, Miguel.
10:03You have betrayed my trust.
10:05And you have used my bookshop to sell a...
10:08unsightly product.
10:10You are absolutely right.
10:11And I am very ashamed.
10:13I can't tell you that you are right.
10:15And I'm sorry.
10:17Salvita.
10:18Please leave us alone for a moment.
10:22Well.
10:23I'm going to the bookshop to have a drink.
10:26But don't be long.
10:27I still have a lot of inventory left.
10:33I didn't think you had gotten rid of the threat of firing me.
10:36Did you?
10:37I told you I was wrong and it won't happen again.
10:40If you behave as you should, your job is not in danger.
10:43I won't do anything like that again.
10:45Nowhere.
10:46Not here, not anywhere.
10:48Goodbye, pages.
10:49Totally.
10:50What 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 realized 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
11:16and running errands.
11:20What if I don't make it?
11:23And if you don't make it,
11:25I'll remember all of a sudden
11:28that you've been selling pages in my bookshop.
11:32Deal?
11:36It's over.
11:37Good afternoon.
11:38Thank you.
11:48But when are you going to tell Esperanza
11:50that she won't be the subject of our wedding?
11:52I swear I haven't been able to.
11:54She's so excited, it's like she's going to her house.
11:57But don't worry, I'll do it.
12:00Good.
12:01As soon as possible, please.
12:03The more excitement there is,
12:05the harder the deception will be.
12:07If I think this woman will take me to the altar,
12:10I'll start sweating.
12:11I think you're exaggerating a little.
12:14But don't worry, I'll do it.
12:16I promise.
12:17Have you found a way to let your son know?
12:20Yes.
12:21Yes?
12:22They gave me the number of a tavern
12:23in the village where I live now.
12:25I'll call him when I can.
12:26I hope I can come.
12:28Will you be as excited to marry me?
12:31Yes, I'd be very excited.
12:34I was thinking about something you told me yesterday
12:36that you'd miss if they didn't live in La Corrala, right?
12:39Well, yes, but don't get upset about that.
12:43One does everything.
12:45We could rent the apartment 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, yes.
13:03I'd be very excited to be able to stay after our wedding.
13:08Thank you.
13:10Thank you.
13:28Six, seven...
13:31Of course, painting is your thing.
13:33Why do you say that?
13:34Because you have more paint on your face
13:36than on the walls.
13:37No, those are details.
13:38I see, details.
13:40Why don't I finish painting and you finish making the inventory?
13:43That way we'll know what we need and what we don't.
13:45We open in a week and we don't have time.
13:47No, I'm going to keep painting.
13:50By the way, 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
13:59and she doesn't want to come back.
14:02Good morning.
14:04I see you're preparing the opening.
14:06Yes, we're a bit busy.
14:09How are you? Nervous?
14:11Nervous?
14:12Well, a bit, yes.
14:14I play a lot at this party.
14:16If it doesn't go well,
14:17that means people have turned their backs on the Madrid-Cabaret
14:20and whatever that means.
14:22But I try not to think about it
14:24and focus on everything going as well as possible
14:26because the rest is not in my hands.
14:30But that's not going to happen
14:32because I've spoken to four newspapers
14:34and they've confirmed your attendance.
14:37I'll have to change the name of the place.
14:39I'll call it Celia Cabaret.
14:41Well, let's fill it up first
14:43and when it's very successful
14:45you can choose a poster with my name on it.
14:54Hi.
14:55Hi.
14:59I wanted to apologize for yesterday's incident.
15:03I wasn't nice.
15:04I hope you didn't think I wanted to make fun of you.
15:07I don't even remember.
15:09As soon as I see an opportunity,
15:11I start making a fuss.
15:13That's just the way I am.
15:15Yeah, well, they pay me to clean
15:17not to beat up two clients.
15:19Well, girl, I'm more of a colleague.
15:22Don't you see I work in the bookshop?
15:23Work, work.
15:24And I see you here.
15:26That's it.
15:27Much better here, with you.
15:30Oh, that's a bad sign.
15:33You just threw away the poster.
15:35I'm not going to clean it.
15:36No, you didn't mean to.
15:37No, I didn't mean to.
15:39Hello, sir.
15:40Would you like anything?
15:41Some candy? Some pasta?
15:42Anything else?
15:44Oh, the horchata fell.
15:45Clean it, please.
15:46Before the gentleman gets stained.
15:48No, no, no need.
15:49I'll clean it.
15:50No, I'll clean it. It's my job.
15:52Well, bring me the most exquisite thing in your letter.
15:56Regardless of how much it costs.
15:57Surprise me.
15:58My father pays.
15:59Remember, the most delicious thing you have.
16:01Interesting choice.
16:03I assure you that I will not let you down.
16:05Excuse me.
16:10Have you already spoken to Celia Gámez?
16:12No.
16:13The truth is that I can't get him 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 ...
16:20... embarrassed.
16:21Come on, let's not get carried away 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 ...
16:30... that does not want to attend to take a picture.
16:32Yes, yes, I also think the same as you, but ...
16:34... it is that I see it more and more complicated.
16:36I see.
16:39Well, I don't know, maybe I can take a guest ...
16:43... a little special.
16:44And can you tell me who you are talking about with so much mystery?
16:47Let's see, it has nothing to do with the BBC.
16:49But it has its audience.
16:51But until I'm sure, I ...
16:55My uncle is very intrigued.
16:58But well, in the meantime, I will continue to try to contact that representative.
17:01But this time I will not call her.
17:03I will introduce myself in person and talk to him.
17:05Well, by the way, I haven't told you before, but ...
17:07... if you want, I can put you in contact with a squad of workers ...
17:10... to help you with the works.
17:13I have very good contacts in construction ...
17:15... and if you tell him that you are on my side ...
17:17... I'm sure you get 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.
17:23Consider it done.
17:25Celia.
17:27Thank you very much, really, 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.
17:43But then how could you have stained yourself so much?
17:45Again?
17:46Leave me alone.
17:53Leave me alone.
18:00Hey, 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 conversation with you in peace.
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?
18:29That mine is, I'll try again.
18:37Wow, what a look.
18:40I wanted to ask you a question, how did we meet?
18:43Miguel wouldn't have told 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.
19:04You know it.
19:05Yesterday you saw Don Fermín, 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 room.
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.
19:24And you, 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.
19:42Yes, and now we have to face that again.
19:46Life is taking its course with us.
19:48Yes, 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.
20:04You were a very strong woman.
20:06Very strong and very determined.
20:12Is there anything else, honey, you want to tell me?
20:16I don't know.
20:17I don't know how Mr. 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.
20:29What are you talking about?
20:30Well, because he wants me to straighten his son.
20:32And with the event that is done.
20:34So you can't sell fajas, but you can be an institute.
20:37Come 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? Because you, with how soft you are.
20:46Man, Trini, soft, soft.
20:48I don't know if I'm the word, but ...
20:50Come on, I don't see myself putting anyone in trouble.
20:53And much less Salvita, who is a professional vagabond.
20:56It must be recognized that in his thing he is the best.
20:58Well, what will happen if you don't get it?
21:01Well, my job is in danger, nothing less.
21:03Well, we 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, institutrix, actor.
21:14I'm going from bad to worse.
21:15Love, 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 are 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, falling in love.
21:30Well, making us fall in love.
21:32And above all, it has to be something credible.
21:35Very credible.
21:37Well, I'm already in love.
21:39No problem.
21:40Well, I just have to let go of my passion.
21:43Incredible love, incredible, incredible.
21:45We'll have to, I don't know,
21:47we'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, like a sudden romance.
22:02I think we'll need a witness.
22:04Esperanza, Esperanza will be a good witness.
22:07I don't care what you say, but you and I, Esperanza,
22:10a plan without cracks, come on.
22:12No, no, don't worry,
22:13because we'll have the perfect match.
22:17What?
22:19Honey.
22:23You can tell me whatever you want, you know.
22:25It's just that...
22:28Well, it's just that in this process I've felt a little lonely.
22:31Iñigo and I have supported each other a lot, of course,
22:33but there have also been times when I've been left alone with my thoughts,
22:36without knowing what the other person was thinking,
22:39or what they regret.
22:41Don't you trust him?
22:43Of course I do.
22:45He's a wonderful man and he's been through a lot, but...
22:49I wonder if we get to know someone completely.
22:52Yeah.
22:54Well, we all have our things, right?
22:58No one is perfect.
23:00Maybe you're in a sadder, more tired moment,
23:04and you can't show that happier side that you're used to,
23:08but that's also marriage, isn't it?
23:12Yes.
23:13Showing the less happy, sadder side of yourself.
23:17Yes, I respect their silences.
23:19I also have mine,
23:21and I'm not perfect, much less.
23:24You have to go through a lot, honey.
23:27A lot in a very short time.
23:30But you'll see how it all works out.
23:35TRINI, MY LOVE
23:37Trini, honey, don't you think we've gone too far?
23:40Poor man is in deep trouble.
23:42Don't worry, because you're going to ask him for a favor,
23:45and he's going to say yes.
23:47I don't dare to say anything right now.
23:49I have to take care of Salvita.
23:52By the way, she's been alone for a long time.
23:54She's also put all the tuna in the bookshelf.
23:56Okay, I agree.
23:58See you after lunch.
24:00Don't forget that we're going to start with the plan.
24:03Yes.
24:09Cañete, look, I was just looking for you.
24:12Tell me, Trini, what do you need?
24:14Well, you know that Mr. Fermin has broken the rule
24:17that married women can't work in La Moderna, right?
24:20Well, we've decided that Miguel and I
24:22are not going to tell him that we're married.
24:25Yes, we're going to pretend that we're in love,
24:28that we're falling in love right now.
24:31And, well, we need you to help us.
24:33And I think you're the right person...
24:34No, no, no, I'm sorry, Trini,
24:36but I'm not in the mood for these games right now.
24:38Especially since what happened to Mrs. Lázara yesterday.
24:41What happened to Mrs. Lázara?
24:46Well, according to Teresa,
24:48Mrs. Lázara is after Mr. Fermin.
24:50But I don't know what to think.
24:52What's more, every time I think about it,
24:54I feel sick.
24:56Well, if Teresa says so, it must be true.
24:58Well, we always have a sixth sense with all these things.
25:02Well, she must have ruined it with me.
25:04That's why she doesn't want to realize
25:06that I love her with all my soul.
25:08I've told you many times that you have to give her time.
25:12And while you give her time, you could help us.
25:18Come on.
25:19I haven't messed up.
25:25Yes, yes, I'm here waiting for confirmation.
25:29Do you like how I've done my makeup?
25:31Yes, yes, yes, you look very pretty.
25:33Well, you've also practiced a lot, haven't you?
25:35Well, it's a very important night for Ñigo
25:37and I want to be up to it.
25:38Sure, and more with the artist he will have summoned.
25:40Yes, although there is bad news.
25:43What?
25:44Celia Gámez's representative has called
25:46to say that she can't come.
25:48Perfect. Thank you very much.
25:50See you later.
25:52Well, well, well.
25:54You don't know who is going to come to the party tonight.
25:57Not because of your face, at least Rodolfo Valentino, right?
25:59No, no, no, no.
26:00Nothing 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 photographer, right?
26:07No, 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.
26:21So handsome.
26:23How do you see it?
26:24I didn't know if I should wear this or the green one.
26:26You have so many dresses.
26:27Let's see, the truth is that all of these look good on you.
26:29But I like this one the most.
26:31Besides, I have a lot of affection for it.
26:32So that I can give it to you.
26:34You are very handsome, but you are missing something, Marta.
26:37Something?
26:38Inés, don't tell me that.
26:39With what it has cost me to put on this dress.
26:41No, no, no, I know where Inés is going.
26:43Marta, let yourself go.
26:45Of course, Carpe Diem.
26:46Look, you are missing some earrings.
26:49Look.
26:50Which one do I choose?
26:51Well, look, I think these can look very good on you.
26:55Come on, can you see?
26:56Yes, let's see.
27:01Inés, I'm sure you don't prefer that I stay here with you.
27:04I can go dancing any other day.
27:06No, no, no, no.
27:07And lose the great writer.
27:08No, no, not even talk.
27:09Don't be silly, I'm serious.
27:10I prefer to be with you.
27:11No, no, no, no, no.
27:12No, no, no, no, no.
27:13No, no, no, no, no.
27:14No, no, no, no, no.
27:15No, no, no, no, no, no.
27:16No, no, no, no, no, no.
27:17I'm serious, I prefer to be with you.
27:18Laurita, I'll be fine, really.
27:19You promise me that you will enjoy and that you will take something in my health.
27:23I promise.
27:25And what are you going to do?
27:26Well, I'm going to lie down there because I'm exhausted.
27:30Okay.
27:31Well, nothing girls, then, if you are, we are leaving now.
27:33If we don't arrive late.
27:34Ready.
27:35Come on.
27:36Let's go.
27:40Rest.
27:41No.
27:42Goodbye.
27:43Goodbye, Inés.
27:44Have a good time.
27:45Goodbye.
27:47Goodbye.
28:09You'll see, this is going to come out, it's going to come out phenomenal.
28:13Agree?
28:14I'm going to try, Tini, I'm going to try.
28:16I'm not an actor.
28:18Tini, anything else you want, but an actor ...
28:22Well, you, you breathe deeply, okay?
28:24Calm down and repeat with me.
28:27The Cupid plan is going to come out perfect.
28:29Yes.
28:30No, you repeat it.
28:31The Cupid plan ...
28:32The Cupid plan ...
28:33The Cupid plan ...
28:34The Cupid plan ...
28:35But now, sister, you don't know the mess I have in the library.
28:37Do I arrive on time?
28:38Yes, of course, but please, take that sweat off there, so no one falls in love.
28:42Are we all ready?
28:43Agree?
28:44Come on, team.
28:45Everyone to their places.
28:46And above all, first of all, naturalness.
28:49Agree?
28:50Yes, let's go.
28:51Come on, come on, come on.
28:52Let's go.
29:05Man, Esperanza.
29:07How's the morning going?
29:08A lot of fuss in the hall?
29:10Well, the same as always.
29:13Why?
29:15Did the vampire tell you something?
29:17No, no, woman.
29:18What's up?
29:19But I did 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, it'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?
29:41No.
29:44What are you doing?
29:45Are you listening to me?
29:46Yes, of course I'm listening to you, 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 bookseller?
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.
30:05What does that have to do with the task?
30:08Why does he start talking?
30:09People accumulate, a queue is made.
30:11And then we don't fix anything.
30:13No, woman.
30:14You look at him well.
30:15Look at him, look at him, look at him.
30:17But hey, what a bitch has given you to look at him?
30:19Look at him yourself.
30:20Let's see.
30:21You take care of sitting people.
30:23For that you are more dynamic and that's it.
30:25Besides, the godmother tells you.
30:28Don't yell at me, please.
30:30Look, you're a waiter.
30:31I was going to ask you.
30:32It's just that maybe I start giving a few words at the banquet.
30:36When do I do it better?
30:37In the desserts?
30:38Before?
30:39After?
30:40Whenever you want, woman.
30:41The point is that the guests listen to you.
30:44Look, let's practice.
30:46Imagine that those tables over there are the guests.
30:49What table? The one in the gallery?
30:51The high ones, where the bookseller is sitting.
30:53Yes.
30:58Oh, damn.
31:00What I just saw.
31:01What did you see, Pranza?
31:02What did you see?
31:03Oh, what I just saw.
31:04Your friend.
31:05Putting his hand on the glasses.
31:07He will find out.
31:11What are you doing?
31:12What are you doing?
31:13Putting your hand on the glasses?
31:14Man, it's not like you're a little boy.
31:15The bread is in the lunchbox.
31:16Are you drinking something?
31:17No.
31:18Come on, get out.
31:19Excuse me.
31:20Air.
31:21Excuse me.
31:22Come on, man.
31:23Oh, my God.
31:25Oh, my God.
31:35Oh, my God.
31:56Be careful, be careful.
31:57I'm sorry, I'm sorry.
31:58Are you okay?
31:59I'm fine.
32:00I thought you'd never come.
32:01You've always been very bad at making people wait for you.
32:06You don't know how eager I was to 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.
32:15And if it is, please, no one wake us up.
32:17And 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.
32:24Hey, it's normal.
32:27We're in a park.
32:28There are people talking, there are people walking.
32:30Cesar, please.
32:31If the police find you, I don't know what to do.
32:33Listen.
32:35No one's going to find me.
32:36They're not so smart to do it,
32:38nor am I so stupid to get caught.
32:40You look 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
32:53because he wanted to know if you had contacted me.
32:56A lieutenant?
32:57Yes.
32:58Who?
32:59I don't know, a guy named Lorenzo, I think.
33:01He was asking me questions and he said
33:04that you'd 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 have everything planned.
33:26I haven't seen you in two days.
33:27In two days, I'll be boarding from Lugo.
33:30I'd like you to come with me.
33:33But, my love, what are you saying?
33:36I'd like to invite you to the best banquets,
33:38to try the best wines,
33:39to 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're not a fugitive.
33:50You're the love of my life.
33:51I want us to start from scratch.
33:54I want us to fulfill the dream we've always had.
33:56To have a jazz club in New York,
33:58or in California,
33:59or wherever.
34:01I'd 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 complicated.
34:16You have a comfortable life in Madrid
34:18and you can't be away from your uncle and your sister.
34:21I'm sorry I can't see you for a few 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 Gámez.
35:05A magazine star.
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 a show.
35:24Have you talked to her representative?
35:26No, I'm not going to talk to that impressive guy.
35:28He's a snob.
35:29Besides, I'm sure he hasn't heard anything about the party.
35:32In the end,
35:34Madrid's repertoire will be ruined.
35:36I want to, but 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,
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.
36:07It would have been worse if it hadn't been for you.
36:11If you didn't talk to Inspector Jiménez,
36:14and you told him about the buttons,
36:16people would still...
36:17suspect me.
36:22Is something wrong?
36:24I know this isn't a big deal,
36:27but 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.
37:07I'm sorry.
37:10I knew your jacket was missing a button
37:14long before the police showed up.
37:20What are you trying to tell me?
37:25When Inspector Jiménez found a button next to Carla's body,
37:29she had what she wanted.
37:32It was a test against you.
37:34Is that your jacket?
37:35Of course it's mine.
37:37Well, there's a button missing here.
37:38See?
37:41I'm sorry to tell you that the button found in the river
37:43is exactly the same as the others in the jacket.
37:46I think you're going to have to give me a lot of explanations.
37:49Yes, well, but...
37:51you yourself told the inspector
37:53that those buttons are very common
37:55and that half of the men in Madrid have them.
37:57That's why they sealed the test.
38:01That the button you found in the river
38:03is the most common button model in all of Spain.
38:06Practically half of the men in Madrid's jackets
38:09use that button.
38:11Among them, the ones of many police officers, by the way.
38:21It sounds familiar, doesn't it?
38:23You can buy it from hundreds of people at any grocery store in Madrid.
38:27Inspector, that button could be anyone's.
38:31But it's not true.
38:34I lied.
38:38What do you mean you lied? You're scaring me.
38:43None of those buttons were the same as the ones in your jacket.
38:46You showed them to him yourself.
38:49But those buttons aren't yours.
38:51What do you mean they're not mine?
38:53They're not yours.
38:55I went to a grocery store myself to buy some buttons
38:57that were identical to the ones in your jacket.
39:27So...
39:29You lied to the police
39:32to cover me up.
39:38So why did you call me?
39:40I have a lot of things to do.
39:43I'll say it again, Mrs. Lázara.
39:45The security guards at the gallery will be on strike tomorrow.
39:48And I have a lot of things to do.
39:50And I have a lot of things to do.
39:52I'll say it again, Mrs. Lázara.
39:53I'll say it again, Mrs. Lázara.
39:55The security guards at the gallery will be on strike tomorrow and the day after.
39:58But I already know that.
40:00I'm the manager of this salon and I know what's going on.
40:03What I expected from you was a solution.
40:05The only solution is to call another company,
40:08the one I have here on the phone,
40:10so they can send two other security guards.
40:12Well, leave it to me.
40:14I just thought of something.
40:16Look, Mrs. Lázara, whatever you say,
40:18but I was about to call.
40:20A salon like La Moderna can't be without security guards.
40:21I'll call.
40:23After all, it's my duty.
40:25Yes, I was already with the management, Mrs. Lázara.
40:27Let me call and you'll take care of the security.
40:29I told you I'll call.
40:31Don't be stubborn.
40:33We have enough with the strikes that are ravaging the country.
40:35Look, you don't have anything else to do.
40:37You can go home.
40:39It's time.
40:41Don't look at the time.
40:43That's indifferent.
40:45Lately, I've spent too much time in the salon.
40:47Well, what's wrong with that?
40:49I'm very committed to my job, you know that.
40:51But 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 I'm worried.
41:06Well, don't worry so much.
41:09Because I have a lot of personal life.
41:12And very busy, besides.
41:14Oh, well, very good.
41:16I'm glad.
41:18And besides, 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 there was no manager.
41:26Luckily, now I'm the one who is most responsible for Mr. Fermin.
41:31So go there quietly.
41:34That way you can have such a busy life.
41:47Let's go.
41:58This can't be happening to me.
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.
42:15Say it.
42:18What do you think?
42:20That I'm not innocent?
42:22Don't you realize that for me it is also very painful?
42:28I don't believe anything, Matilde.
42:30Nothing.
42:32What I least expected is that you doubted me.
42:34Ñigo, that has helped you.
42:36It has helped you.
42:38They could have accused me of conspiracy or covering up a crime.
42:40Or an accomplice.
42:42Do you really believe it?
42:45I know you're not.
42:47But there are things that don't suit me.
42:49Tell me.
42:51Do you think I'm a murderer?
42:53I didn't say that.
42:56Well, you didn't deny it at any time.
43:00I can't trust you.
43:07And you don't have to come to Madrid tonight, Cabaret.
43:09I've had enough disappointments for today.
43:17I'm sorry.
43:41Ñigo.
43:43How are you?
43:45Why don't you have a drink and relax?
43:47I wish you were right, Laurita.
43:49But as you can see, the bar is not even half full.
43:51Well, because it's a party.
43:53And people don't come to parties on time.
43:55Otherwise it 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.
44:04And why is that? Is she not well?
44:06Exactly.
44:08She is not well and has decided to stay at home.
44:11Well, I'm going to say hello to some customers.
44:13Thank you.
44:18And Matilde?
44:20Is Ñigo not here?
44:22No, he's not coming.
44:24That's it.
44:26So she's supporting him in everything he can do.
44:28Yes, but he's not feeling well.
44:30Meeting Matilde is very bad.
44:32Because Ñigo plays a lot.
44:34Darlings.
44:36I'm sorry to interrupt,
44:38but let me introduce you to Ernest Hemingway.
44:40The writer I told you about.
44:42Oh my God.
44:44Erisa.
44:46My 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 set up here in our country,
45:05The Sun Also Rises.
45:07Rises.
45:09Rises.
45:11But that has not been published in Spanish.
45:12Well, I have my contacts abroad
45:14and I have been able to do with a copy in English.
45:16In English?
45:18Well, if it's hard for me to understand it in Spanish,
45:20imagine it in English.
45:22Well, but between the two of us,
45:24I'm sure we'll get along and understand something.
45:26Marta, you're going to love it.
45:28The description he makes of the parties of the sick
45:30is remarkable.
45:32I don't know anyone who has reflected it so well.
45:35Thank you very much for your words, miss.
45:42Thank you.
45:48Miss Garmet,
45:50it is an honor to have you here in Madrid Cabaret.
45:54I was talking to your representative
45:56and he told me that he had the full agenda,
45:58that he could not come.
46:00And he said well, but how was he going to fail you on your night?
46:02Shall we take a picture?
46:04Yes.
46:13Antonia, it's Pietro.
46:15I'm coming.
46:25Hello.
46:27Hello.
46:33What a face you bring, what happened?
46:35Giancarlo will not be able to attend the wedding.
46:38What? Why?
46:39What problem does he have?
46:41The problem is in the authorities.
46:43They don't let him leave the country
46:45because of the criminal background he has.
46:48But he has four little things, poor man.
46:50Yes, I know.
46:52But there is no way, Antonia.
46:54In Italy it is like that.
46:56If it is not, it is not.
46:59Pietro, I'm very sorry.
47:02I'm sorry.
47:04I know how important it was for you
47:06to attend the wedding.
47:07A lot.
47:09But I'd rather not think about it.
47:11He said we should try to enjoy it.
47:14Well, listen to your son.
47:16We're going to enjoy it,
47:18I'm sure it's going to be a beautiful day.
47:20I'm sure it is.
47:22Although there is a lot to do,
47:24it will be a fantastic day.
47:30I'm going.
47:33Antonia.
47:35Yes.
47:37Susana, I wanted to ask you something.
47:40I have thought of wearing the same suit
47:42with which I married Lucia.
47:44May she rest in peace.
47:46It's just that a new one seems too much money to me, right?
47:50If you don't mind.
47:52No, no, no, no, no, no.
47:54Quite the opposite.
47:56I didn't know how to tell you this.
47:59But I had also thought
48:01of marrying the dress
48:03with which I married Ramón.
48:05If you don't mind,
48:07there are 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 has gone to Madrid Cabaret with Laurita and Celia.
48:20You don't know how happy I was.
48:22And have you spoken to Esperanza?
48:24No, I haven't been able to.
48:26It's just that there was a lot of fuss at La Moderna,
48:29but I'll talk to her tomorrow.
48:32Tomorrow?
48:34Yes, tomorrow.
48:35Yes.
48:38All right.
48:40Good night.
48:42Good 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 myself
49:01and put it on paper.
49:03No, no, but that's practice.
49:05Practice 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, heart.
49:13How do you say...
49:15Heart.
49:17I say it from the heart.
49:19See?
49:21Why is it so hard for you to be fulfilled?
49:23Ladies, for good ideas.
49:25Cheers.
49:27Cheers.
49:29Miss, when Antonia sees the signature
49:31and the wedding dedication,
49:33how happy she will be.
49:35When she gets married.
50:03Matilde.
50:05What are you doing here?
50:09I'm sorry.
50:11I'm very sorry.
50:18I'm sorry I let myself go.
50:20I shouldn't have doubted you.
50:22I'm sorry.
50:24I'm sorry you had to go through all that.
50:26Come here.
50:30It's not my fault.
50:32You helped me,
50:33but we have to be able to talk about anything.
50:36Honey, the problem has been
50:38that I've locked myself up
50:40and I haven't shared your worries or mine.
50:42No, my love.
50:44I'm very sorry.
50:46No, you don't have to apologize for anything.
50:48If it weren't for you, I wouldn't be free.
50:50And I'm really sorry
50:52for everything you've been through,
50:54but, my love,
50:56I would like us to look ahead.
50:58The two of us, as always.
51:00As always.
51:01As always.
51:08You don't know how happy it makes me to have you here.
51:11I thought you weren't coming.
51:13How could I leave you alone on such an important day for you?
51:22Thank you.
51:29For our love.
51:31For what we are.
51:33For what we will be.
51:35And for life to smile upon us.
52:02What 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.
52:12Oh, my God.
52:14The report made by the Iberian correspondent.
52:16Two whole pages covering the reopening of Madrid-Cabaret.
52:20And the rest of the newspapers didn't fall behind.
52:22All of them.
52:24They all echoed the event.
52:26I don't know what he's up to.
52:28You don't know what he's up to?
52:29You feel like a zero on the left so that you quit your job.
52:33What are you doing here?
52:35That's what I could ask you.
52:37I live here.
52:39I don't understand how Mr. Fermin is letting you seduce this lady.
52:45Let's pretend I didn't say anything, please.
52:48Well, you did say it, Trini.
52:50I'm telling Cállate not to say anything to anyone.
52:52Tell him right away.
52:54Agustín, what a surprise.
52:56What do you mean, Agustín?
52:57Laurita, he's Agustín Comas,
52:59the theatre producer who asked me to appear in the court of the pharaoh.
53:02I trust you. Don't let me down.
53:04I never let you down, dear.
53:06I hope so.
53:08As you told me, business has to go well so that I can finish my revenge.
53:12You must have seen that building hotels in Bilbao and Barcelona is fundamental for the accounts.
53:18Yes, yes. It would be an important push.
53:22But that's not feasible at the moment.
53:24It's not feasible because there is a law on 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.
53:33You should look for your new protagonist.
53:36You are my leading actress.
53:38I don't want to find anyone else.
53:40I 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.
53:52One thing is to take risks and another thing is to put my life on the line.
53:56I need you to tell me if you've made a decision.
53:58Well, you know, leaving Spain like this, so hastily, well...
54:03It's just that with my salary, I can't move in with Antonia.
54:06Mrs. Lázara told me about an increase and...
54:08And you want me to make cash, of course.
54:10Please.
54:12This door, I don't know why it doesn't open.
54:14I don't know.
54:16I don't know.
54:18I don't know.
54:20I don't know.
54:22I don't know.
54:24I don't know.
54:26I don't know.
54:28I don't know.
54:30I don't know.
54:32I don't know.
54:34I can't believe it.
54:36Well, I 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 newspapers 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.
54:53Well, I think the best thing is for us to get comfortable,
54:56because it's going to be a very long night.
55:02I don't know.