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00:00I'm sorry, doctor, but that's very ridiculous, don't you think?
00:08More ridiculous is that an undetermined person gets a dead bird
00:12and finds a way to get into his house just to leave the bird in bed.
00:16Unfortunately, we don't lack enemies, doctor.
00:20And some are capable of doing very twisted things.
00:25Besides, why would Matilde pretend she found a dead bird?
00:28To show you that she's not crazy.
00:31Matilde loves you, doesn't she?
00:33Of course she does.
00:35And what woman would want her husband to see her like a sick person?
00:37But still, doctor...
00:39Matilde is having hallucinations.
00:41And those hallucinations could be the symptom of a serious nervous condition.
00:45And she knows it.
00:46Are you telling me that Matilde is making proof
00:49to make me believe that her hallucinations are real?
00:52It's a very normal reaction in your situation.
00:55And you shouldn't feel deceived.
00:57Matilde does these things because she desperately needs to convince you
01:02that her hallucinations are real.
01:04Because for her, they are real.
01:06Look, I know it's hard to accept,
01:09but for mental patients, the line that separates the real from the imagined is very blurred.
01:15Listen, Matilde...
01:17Let me tell you that it would be best to get your wife into an institution as soon as possible,
01:22before she becomes a danger to herself.
01:25Get her in.
01:27My wife is not crazy.
01:29Matilde, what happens is that she has been subjected to a tremendous tension.
01:33And her nerves have been resented.
01:35But my wife is not crazy.
01:37And I'm not going to get her in, doctor. Don't insist.
01:42At least I'll bring Matilde back from the consultation today.
01:45I would like to value her after what she has told me.
01:50Count on it.
01:55What are you doing there?
01:57Well, nothing. Waiting to see if the money comes out.
01:59Because at this rate I'm going to get them out.
02:01If it seems to me that they are ready, already.
02:03I wouldn't do it.
02:04He can leave you lame as he sees you bright.
02:07Well, we are good.
02:08And what about you? Do you already know if you are going to be the godfather of the wedding?
02:12Well, the librarian has not told me anything and Trini neither.
02:15Have you told her anything?
02:16Trini told me yesterday that if Miguel's mother does not appear in the end,
02:19that I have a lot of papers to be the godmother.
02:21Come on.
02:22Well, let's see if they decide at once.
02:24Because at this rate they are going to confirm it at the church door.
02:26What is everyone doing here?
02:29Please, the turtles in the wardrobe.
02:32You are here for the pasta, I imagine, right?
02:34Imagine well, master. Are they going to take long?
02:37No, it's ready.
02:38Yes, I was already saying. If they smell, they feed.
02:42Have you ever thought of opening the oven?
02:44Me?
02:45Never. In life I would think of something like that, man.
02:48Miguel and Trini's wedding will come, I guess.
02:53Of course you will have to think who you are coming with.
02:56If with Antonia or with Lucia.
02:58Because with both at the same time it will not be.
03:00I have nothing to think about.
03:02I will go with Antonia, as it is logical.
03:04It is not logical, but as now he lives with the other,
03:07well, I did not know what to think.
03:09Maybe you don't have to think about anything, Esperanza.
03:11Because deep down it's none of your business.
03:13Exactly.
03:14And stop pricking, please.
03:16This is not easy for anyone.
03:18Prick me? But I have only asked one question.
03:21Esperanza, I lost a wife.
03:24Or so I thought.
03:25I raised a son alone.
03:28Then I had to separate from him, come to Spain,
03:30learn a language, get a job.
03:33And now that I can be a little with Antonia,
03:35everything has come down.
03:38It's very hard.
03:41I know, man.
03:42I was only worried about you and Antonia.
03:45Well, now wanting to make us friends.
03:47Well, you didn't come to get the money.
03:49Well, that's it.
03:50Air.
03:51But I'm going at my own pace, Esperanza.
03:53And they weren't even ready.
03:54And if you want to know,
03:55I live with Lucia because she doesn't know where to go.
03:58She has no place.
03:59And I can't leave her.
04:01Well, otherwise she wouldn't be a good Christian.
04:03She's not a good Christian either.
04:05She has two women.
04:07Don't you dare say something like that.
04:09I love Antonia.
04:11Antonia is the woman of my life.
04:14But I have to be with Lucia now.
04:16Because she is alone.
04:18And in the mother and Giancarlo.
04:22It's the last time I give her an explanation of my life.
04:24Now please leave.
04:27I apologize.
04:28Excuse me.
04:32Well said, teacher.
04:34Say yes.
04:35Besides, don't worry, everything will be fine.
04:37Cheer up.
04:47Matilde!
04:51I'm so glad to see you.
04:53I didn't know you had an appointment.
04:55No, I didn't have an appointment.
04:57In fact, my husband fixed it for me at the last minute.
05:01I just got out of seeing the doctor.
05:04The voices have returned.
05:06The voices?
05:08Yes.
05:09I hear voices.
05:11I mean, they're hallucinations.
05:13I hear voices.
05:15I mean, they're hallucinations, of course.
05:17Well, now I know they're hallucinations.
05:19But not a year ago.
05:22And there came a time when they were part of my life.
05:25I don't know, they were real.
05:29It's hard to explain.
05:32Does something similar happen to you?
05:36Yes, well, in my case it's different.
05:39Because I don't imagine things.
05:41Real things are happening to me.
05:43Of course, that's what happens to us.
05:45What happens to us seems real.
05:48Yes, but what I mean is that in my case they are real.
05:52They are as real as you and me.
05:55You don't believe me, do you?
05:57No, no, of course I believe you.
05:59Who am I to say what you hear or stop hearing?
06:01Only you know that.
06:03Well, lately everyone seems convinced that I imagine things.
06:07Or worse, that I make them up.
06:10I hope that after what happened last night,
06:12my husband is convinced that I don't imagine or make up anything.
06:16What happened last night?
06:22No, no, no, don Salvador.
06:24You can't imagine how your son is behaving.
06:27More and more hard-working every day.
06:30Well, look, he even asked me to extend the schedule.
06:34Yes, yes, he offered to come and open
06:37the day the cleaning girl comes.
06:39Yesterday he was here, at the very first hour.
06:45Yes, and well, and the day after tomorrow,
06:47which you already know is my wedding,
06:49he has offered to take care of everything in the bookstore
06:51so that we don't have to close at any time.
06:57Nothing, nothing, nothing, nothing to thank, Don Salvador.
07:00On the contrary, I am the one who thanks you
07:03for looking for such an applied assistant.
07:07Yes, I'll tell him.
07:09Good morning.
07:10Good morning.
07:13You have an applied assistant?
07:15Excuse me?
07:16How do you tell my father that I wanted to stay to work
07:19when it was you who forced me to stay?
07:21This is incredible.
07:23I force you?
07:24Won't it be your father who forces you to work?
07:27What I do is paint your father as if it were your merit.
07:30No, if I have to thank you.
07:32On top of not inviting me to the wedding and making me work all day.
07:34Well, yes, you should thank me.
07:36But it wouldn't cost me anything to tell your father
07:38that I have to be watching you and chasing you
07:40because otherwise you don't give a damn.
07:42You'll tell me what the problem is.
07:44If for a fucking day we close the bookstore.
07:47Look, we put a poster of closed for family celebration,
07:51we get married and no one finds out.
07:53But look, you're a cheat.
07:55I'd better caress your face with shame just to propose it.
07:57But if my father is rotten with money.
08:00Also, if you invite me to your wedding,
08:03I could get you tuna for free.
08:05Look, I'll call my friends right now
08:07and in two days you'll have tuna with a poster singing
08:09whatever you want at the door of the church.
08:11Don't even think about it.
08:12Come on, what I was missing.
08:13Half a dozen drunkards singing the clavelitos out of tune.
08:16Trini kills me.
08:17Well, what a bitter your girlfriend.
08:18Shh, respect.
08:19You've called my friends drunk, haven't you?
08:21Come on, get to work and leave this matter.
08:23Come on.
08:26I'm going to order the exhibitors outside.
08:28Whatever.
08:30Last night when we got home we found a dead bird in bed.
08:33My God, how unpleasant.
08:35There was an open window.
08:37I wish it were that.
08:39No, it's just that...
08:42They're harassing me, you know?
08:45They come into my house, chase me,
08:47move things around.
08:49Excuse me, does that person have the keys to your house?
08:52No, I don't know.
08:54It's just that we don't understand how he gets into the house,
08:56but it's happened several times.
08:58We've even changed the lock.
09:01And he leaves his perfume in the living room
09:03so we know he's been there.
09:07I don't know.
09:08And last night he left a bird in bed.
09:10Jesus.
09:11And have you reported this?
09:14Not yet.
09:15Because most things happen when I'm alone.
09:18And everyone thinks they're my imagination.
09:21But I hope that after last night,
09:23my Mario understands that we have to report.
09:25Of course, of course, of course.
09:27My God, just the thought of someone coming into my house
09:30scares me to death.
09:31It's like dying of fear.
09:33At the moment he's just playing with me,
09:35but who says that one day he'll come and hurt us?
09:39He must be going through something terrible.
09:42You can't imagine.
09:44I have goosebumps.
09:46And on top of that, everyone looks at me like I'm crazy.
09:49Which is probably what that person wants, of course.
09:51I understand that perfectly.
09:54Do you mind if we cuddle?
09:58No, of course, I think it's fine.
10:00The fact that they take you as if you were crazy,
10:03the same thing happens to me.
10:06My family watches me all the time.
10:08They look at everything I do with a magnifying glass,
10:10they turn everything I say around,
10:12all the time looking for signs that I'm crazy.
10:16It's horrible.
10:17Really, I can't sleep at night.
10:23Don't you want to go for a walk?
10:26The park next door is very beautiful.
10:33I think I have time.
10:35Of course, woman.
10:36We'll be right back.
10:38Besides, it's a pleasure to find someone
10:40who understands you perfectly without judging you.
10:42Right?
10:48Let's go.
10:53Let's go.
11:01Hello, beautiful.
11:06What do you want?
11:08Well, thank you for giving me a ride yesterday.
11:11You could have told Miguel
11:13that I was late to pick you up and you didn't tell him.
11:15You do appreciate me a little.
11:17What I would appreciate is that you wouldn't have me waiting
11:20like a fool again, never again.
11:22That's why I called you this afternoon to convince you.
11:24And I promise I won't make you wait.
11:26Well, you're the one who's going to have to wait sitting down.
11:29Because I'm not going anywhere with you.
11:31And why is that?
11:32Well, look, first of all, because it's cool.
11:34And second of all, because I'm going to attend
11:36a talk about film movies
11:38that some friends of mine have invited me to,
11:40at the Grammophones store.
11:41A talk about film?
11:43I didn't know you were an intellectual.
11:46Oh, no, of course.
11:47For you, I'm just an ignorant whore
11:49that you can dazzle with a snack, right?
11:53Go on, get lost, handsome.
11:55I'm sorry, I didn't mean to offend you.
11:57You get very handsome when you're angry.
12:01Is that what you call tidying up the exhibitors?
12:03Come on, come inside.
12:05You're so annoying, really.
12:20I'm coming.
12:25I'm sure it's Mrs. Juanes.
12:27That's great, because I can't wait to meet her.
12:33Hello.
12:34Mrs. Juanes?
12:36That's right.
12:37And you are?
12:38I'm Laura, Inés' sister.
12:40A pleasure.
12:41A pleasure, Laura.
12:42Come in.
12:45Hello.
12:46Dear Inés, how are you today?
12:48Very well, thank you.
12:50I've heard you do miracles with people's voices.
12:53What I do is not a miracle or anything like that.
12:57What I indicate is a path.
12:59And the merit is entirely of the patient
13:01who decides to walk that path
13:03despite the difficulties it poses
13:05and find their true voice.
13:07Their true voice?
13:11You'll see.
13:13Uh...
13:16When...
13:17When the mind is disturbed,
13:19our breathing becomes agitated.
13:21The muscles and vocal cords become tense
13:24and our voice becomes distorted.
13:27When we manage to keep the mind and body in harmony,
13:31then we emit our true voice.
13:35How interesting.
13:37Oh!
13:39And this?
13:41Yes, before the accident,
13:42I was offered to be the protagonist of that play.
13:45I know Maestro Lleó very well.
13:47He's a very nice gentleman.
13:49And Julia Fons, the singer who premiered
13:52The Court of Pharaoh, was my patient.
13:55So, shall we get to work?
13:58Yes, I'm leaving and I'll let you work.
14:01Have a good day.
14:02A pleasure, Mrs. Juárez.
14:03Likewise, thank you very much.
14:06Well, let's get to work.
14:08Inés, take care.
14:11Today I'm going to teach you how to breathe with the diaphragm.
14:17No, no, no.
14:18Sit down completely.
14:19And the head?
14:20Just like that.
14:21That's it.
14:22Like that.
14:23That's it.
14:24Very good.
14:26And now I want you to breathe in
14:30trying to lift the notebook.
14:34Let it go up.
14:35That's it.
14:37Filling the diaphragm with air.
14:39Very good.
14:40And now exhale.
14:43One more time.
14:46Focus on filling the gut, not the chest.
14:50Inhale.
14:52Hold it.
14:53And exhale.
14:58I finally got to talk to the Sevillian photographer I told you about yesterday.
15:01Great.
15:02Can he come to the inauguration?
15:04Well, he told me not to worry.
15:06And to tell your friend Jacobo that he will be there to take some first-class photos.
15:10Thank you very much, Celia, for everything.
15:12Well, how much do I owe you?
15:14By God, you don't owe me anything.
15:16Are you sure about that?
15:17Very sure.
15:18As long as you continue to count on me for future events in Madrid Cabaret, I am satisfied.
15:23I am grateful.
15:24Well, I'm going to keep working.
15:26Thank you very much for everything.
15:27Have a nice day.
15:32Mr. Inigo.
15:34Esperanza.
15:36You have to call a Dr. Mendoza.
15:39Excuse me?
15:40He just called the model asking about Matilde.
15:43From what I can see, he had an appointment with him and he introduced us.
15:46We don't know where he is either.
15:48Oh, poor Matilde.
15:50I hope it's nothing.
15:54Celia.
15:55Can I use your phone?
15:56It's to make an urgent call here, to Madrid.
15:59Of course.
16:00Would it be necessary?
16:01Thank you very much for everything, Esperanza.
16:03Thank you.
16:07I'll leave you alone, okay?
16:08Thank you.
16:12Operator.
16:14With the consultation of Dr. Mendoza, please.
16:17Yes, yes, yes, that's right.
16:19Thank you, I'll wait.
16:25Could you explain to me why we have two waiters on the terrace?
16:28It's practically empty at this time of day,
16:30and yet Elias is in the living room,
16:32only you didn't give everything.
16:34Well, in Mr. Lázaro's case...
16:35The fact is that everyone here does whatever they want,
16:37and that's how we show our hair.
16:38Do me the favor of organizing the waiters.
16:40Whatever you say, ma'am.
16:42And when everything is in order, then he grabs a notebook
16:45and starts making a list of the things we're going to need in the next few days.
16:49And if he doesn't like it, well, he hasn't given Cañete permission.
16:53Because all this mess that's going on here is your fault and no one else's.
16:59Excuse me.
17:01There's a call from a supplier for you.
17:04Trinidad, can you tell me what you're doing by answering the phone?
17:08Please answer the customers.
17:10Come on!
17:13He has to be in everything.
17:19Yes, tell me.
17:20Teresa?
17:21It's Cañete.
17:22But, well, Cañete, what are you doing calling here?
17:24The conference is going to come out of your face.
17:26No, don't worry about that.
17:28How's your grandfather?
17:29Fine, fine.
17:30Well, I'd like to be like him when I'm 100, when I'm 60.
17:34Life in the countryside, you know.
17:36They'll pass an age and they'll be like Mohammed,
17:39and they'll last a hundred, a thousand years, whatever.
17:42Well, how's everything over there?
17:44Well, Mrs. Lázaro was giving me a handkerchief as a precaution.
17:49But I hope to have it against the strings sooner or later.
17:53And that? What happened?
17:56Well, you see, I've been to the Madrid-Paris warehouses
17:59and I've talked to one of the dependents who worked with her.
18:02Wow, you're a real hound.
18:04And what did she tell you?
18:06Well, she went to name Mrs. Lázaro and you can't imagine how she got on.
18:09Come on, more tense than a violin string.
18:11I think she had a problem with her, she didn't want to tell me.
18:14But they'll get it out.
18:15Well, Teresa, let's see if what happens
18:17is that you dated a girl who was Mrs. Vampira's friend
18:19and now you're going to tell her the story.
18:21Do you think a woman like her is going to have friends?
18:23Of course not.
18:24I'm sure she made their lives impossible, just like here.
18:27Well, you be careful, please.
18:29Because if two of the manager's ladies
18:31who are snooping around get here, you could lose your hair.
18:33Yeah, but this woman is not clean.
18:36And I'm going to open Mr. Fermín's eyes, whatever.
18:38Yes, two boxes.
18:39When do you want them?
18:41What are you saying?
18:42You can't talk, can you?
18:44Correct.
18:45Very good, thank you very much.
18:46Goodbye, goodbye.
18:47Goodbye.
19:00Hello, daughter.
19:02I brought you the correspondent.
19:03Leave this newspaper.
19:04I'm drowning in here.
19:06For God's sake, lower your voice.
19:08I have the girl cleaning the garden.
19:10Well, tell her to leave.
19:12I want to get out of here.
19:13I want to be able to walk around my house.
19:14Shut up, I tell you.
19:15If you didn't want to be locked up here,
19:17you would have accepted the ticket to go to America.
19:19Again, are you going to do that to me?
19:21If you mention the tickets to America again,
19:24I swear I'll set this basement on fire.
19:27But what has happened to you?
19:29You won't have a fever, will you?
19:30Leave me alone and don't treat me like a girl.
19:32I'm not sick.
19:33I'm fed up.
19:34And I need to know how Matilde is.
19:37What are you talking about?
19:39I want to know how she is after what happened.
19:42What have you done, Carla?
19:44Don't tell me you went out again.
19:47I had to pay her a visit.
19:50You don't listen to me.
19:52Do you know, mother,
19:54the bowl that the assistant has with alpiste in the garden,
19:58well, I put a little bit of rat poison in it.
20:00You went out to the garden?
20:02And if a neighbor sees you...
20:03Listen to me, listen to me, listen to me.
20:04Four or five birds went to eat there.
20:07And well, most of them escaped,
20:09but one of them died in the garden.
20:12What are you talking about?
20:14That I took that bird and went to Íñigo's house
20:18and put it on top of the bed,
20:20under Matilde's robe,
20:22so that she would find it when she went to sleep.
20:26That face.
20:27That's the face Matilde had to make when she went to bed.
20:32So I need to know
20:34if she found the bird,
20:36if it gave her a nervous attack,
20:38or how she is.
20:39Do you understand?
20:40I want you to lock her up.
20:42If you want, lower your voice
20:44or the whole neighborhood will hear you.
20:46I'm asking you.
20:47Please.
20:50I'll take care of Matilde.
20:51You don't get out of here.
20:55Trust me.
20:56Okay.
21:05I'm going to give the girl the afternoon off
21:07so you can be alone in the living room.
21:11You, please, try to calm down.
21:27It's time. Shall we start?
21:40Ladies and gentlemen,
21:42from Discos and Gramófonos Sabater,
21:44we welcome you
21:46and thank you for your attendance at the conference
21:49and for your participation.
21:51From Discos and Gramófonos Sabater,
21:52we welcome you
21:54and thank you for your attendance at the conference
21:57by the cinematographer Agustín Comas.
22:00Without further ado, we leave you with him.
22:08Good afternoon, distinguished audience.
22:10This afternoon,
22:12I would like to talk to you
22:14about the exciting future
22:16that awaits the most recent of the fine arts,
22:19the cinematographer.
22:21Because, yes, for me,
22:22cinema is one more of the fine arts.
22:25Perhaps the most relevant of all, if I may.
22:29Because, until now,
22:31what was the cinematographer?
22:33Some say it was a fusion
22:35of photography,
22:37literature,
22:38theatre.
22:40This afternoon we are joined
22:42by the prestigious photographer Celia Silva.
22:47Miss,
22:48would you agree with this statement?
22:53Well, with some nuances,
22:55but yes, yes, yes, I agree.
22:57Indeed, we should make many nuances
23:00because what the cinematographic camera captures
23:04is also the work of other artists,
23:07like the architects who build the sets,
23:12the fashion designers who design the costumes,
23:15the painters, the sculptors.
23:17But there is an art
23:19that has not yet entered the Olympus of the cinematographer.
23:23The singer Inés Balbuena,
23:26who today honors us with her presence,
23:28would know how to tell us.
23:31I suppose you mean music?
23:35Indeed, music.
23:39Allow me, Mr. Gomez,
23:41but nowadays any cinema room that is appreciated,
23:44if you go further,
23:46has a piano or an orchestra.
23:49Or a Pulitzer Prize, if it fits, right?
23:52Very good point, Mr. Fermin.
23:54But look, all those gadgets
23:57do not belong to the work of art
24:00in the same way that the movie
24:04or the seats in the theater
24:06do not belong to the movie.
24:08However, with the advent of sound cinema,
24:11music enters through the great door of cinema,
24:14making it the greatest show in the world,
24:17because it can contain in itself
24:20painting, photography, sculpture, architecture, theater,
24:25and now also the human voice.
24:29Therefore, I can assure you, without fear of making a mistake,
24:33that sound cinema is the greatest revolution
24:37that the world of culture and art has produced
24:40since the invention of photography.
24:45But isn't it true that most cinema rooms here in Spain
24:50cannot project sound cinema?
24:53Totally true.
24:55Miss Laura Balbuena
24:57is naturally aware of all the technological needs
25:02that arise in this new format of sound cinema.
25:05But I am very pleased to be able to show you
25:09a very interesting object
25:12that surely the elders remember,
25:17because it is the origin of the cinematographer.
25:23The magic flashlight.
25:27And now, if you are so kind,
25:29you could turn off the light in the room
25:31so that I can show you how it works
25:34and I will make a brief semblance
25:36of how these projection gadgets
25:40came to emerge in cinematography as we know it today.
25:56Oh my God, I'm exhausted.
26:00Very tired.
26:04A lot of work.
26:05A lot.
26:06If it is with the absence of Cañete,
26:08I have to take care of his work and mine too.
26:10Well, as far as Cañete is concerned,
26:12another waiter could take care of it,
26:14such as Elías, who always wants to be, I don't know,
26:16the adjunct of something.
26:18Well, Elías would have loved it.
26:20But it is that now he has gotten between eyebrows
26:22that the culprit of the absence of Cañete is me
26:24and it is my turn to deal with the dead.
26:26But this woman is never going to get tired
26:28of pinching everyone.
26:30Well, no, she doesn't look like she's getting tired.
26:32Not even one.
26:33Well, you see, daughter, that's the way it is.
26:37Well, at first I could understand it,
26:39because you were in charge and, I don't know,
26:42it was normal for you to be jealous of that,
26:44but now that she is the manager,
26:46I don't know, let her relax and enjoy it, right?
26:50But I think that relaxing is not
26:52within the capabilities of Mrs. Alazara.
26:54Yeah.
26:55And enjoying, I think she only enjoys watching me suffer.
26:58But well, let's leave it,
26:59this is something between her and me
27:01and I don't want you to get involved.
27:02Well, whatever you say.
27:03Do you want a croquette?
27:04No, no, beautiful, thank you.
27:06By the way, you have more important things to think about.
27:09Aren't you nervous about your wedding?
27:11No, no, I'm very calm.
27:14Well, I don't know,
27:15you should have gotten married three times already.
27:17Three times, she says.
27:20Hi.
27:21What's cooking here?
27:22Well, nothing, I was telling Trinidad
27:24that she looks very calm to be about to get married.
27:26Yes, she is calm, yes.
27:28However, I am that I pull my hair out.
27:30Because, of course, the wedding is herself
27:32and no one tells me if I'm going to be a godmother or not.
27:35Well, we are waiting to see what Miguel's mother says.
27:39Another one who dances so late.
27:40I don't know how that conscious woman
27:42that you get married so fast and running
27:44without even giving an invitation.
27:46It's just that it's a wedding, it's nothing.
27:48Well, woman, don't take it so seriously
27:49that those who get married are Trinidad and Miguel.
27:51Well, let them do whatever they want.
27:53Well, for me,
27:54as if they want to get married dressed as bullfighters and lizards.
27:57All I want to know is if I'm going to be a godmother.
27:59Well, that.
28:01And why are you in such a hurry?
28:03Because we are going.
28:04You have to see how fast.
28:06Well, and hit him with the matraca again.
28:10Hey, give me a croquette, yes.
28:30Oh, mother.
28:32My heart comes out of my mouth.
28:35Nobody.
28:36Oh, my mother.
28:37We arrived one o'clock in the afternoon.
28:39It's my fault, huh?
28:40I can hardly breathe.
28:42Sit down, woman.
28:43No, no, no, no, no.
28:44How did the doctor find out
28:45that I have entertained you for so long?
28:47I get in again.
28:49No more jokes with him.
28:50Yes.
28:51I'm going to see if they give me
28:52a glass of water in the cafe next door, okay?
28:54But, excuse me,
28:55we were so comfortable chatting
28:57that the saint gave me to heaven.
28:59Sure.
29:00I had a great time.
29:01See you soon.
29:02Yes, take care.
29:08Matilde.
29:09I thought I heard you.
29:11And, love, are you okay?
29:12Yes, I'm fine.
29:13What are you doing here?
29:14Well, I've come to see you.
29:16Dr. Mendoza told me
29:17you didn't come by for a consultation.
29:19Yes.
29:20What a shame.
29:21Sorry for the delay.
29:22I went for a walk
29:23and I didn't realize
29:24what time it was.
29:25But that had to be
29:26more than an hour ago.
29:27Yes.
29:28I know.
29:29I'm sorry.
29:30I've been very distracted for a few days.
29:31My love, we were very worried.
29:33We thought something had happened to you.
29:35No, nothing has happened to me.
29:36I'm fine.
29:37I went for a walk
29:38and I was thinking about my things.
29:39That is to say,
29:40you came at the right time
29:41but decided to go for a walk,
29:42without further ado.
29:43Does that seem reasonable to you?
29:46Well, I know it's not very serious,
29:48but I've already apologized.
29:49It's not that serious.
29:50For God's sake.
29:51Mr. Piñalver,
29:52you already know my opinion.
29:54These extravagant behaviors
29:56are symptoms of a serious condition.
29:58The ambulatory treatment
29:59won't work.
30:00Hey, would you be so kind
30:01as to talk to me?
30:02I'm the patient and I'm here.
30:04You're here now.
30:05But who knows
30:06if you're not going to come out
30:07through that door again.
30:08You behave unpredictably.
30:09And you behave like a despot
30:10and an ill-mannered person.
30:11My love...
30:12No, no, no.
30:13I'm fed up
30:14with this man's nonsense.
30:15I'm not going to waste time with you.
30:17It'll be for doctors.
30:18Matilde, don't get upset.
30:19Please.
30:20I'm very calm.
30:21And I'm not crazy,
30:22as you think.
30:23Don't worry.
30:24I'm leaving right now
30:25and I won't see you again.
30:26And you won't have to worry
30:27about my extravagant behavior.
30:29Huh?
30:30Never.
30:31Matilde, please.
30:32No, let me go.
30:33Mr. Piñalver, please.
30:34What else do you need
30:35to convince yourself?
30:37Your wife needs
30:38constant care.
30:39And that can only be
30:40if we put her
30:41in an institution.
30:47And so far,
30:48this trip
30:49from the origin
30:50of the cinematographer
30:51to today.
30:52However,
30:53this is a trip
30:54that has just begun.
30:56In front of us
30:57appears a territory
31:00unknown and difficult.
31:02Adapting the theaters
31:04of our country
31:05to the cinema
31:06will be a titanic,
31:08risky
31:09and expensive
31:10job.
31:11But that,
31:12without a doubt,
31:13will put us
31:14at the door
31:15of the future.
31:16Because,
31:17although some
31:18recalcitrants
31:19say otherwise,
31:21sound cinema
31:22is the future.
31:24Thank you very much.
31:42And that face?
31:43Can you tell me what's going on?
31:44What's going on?
31:45Your friend Elias,
31:46that's what's going on.
31:47What's going on with Elias now?
31:48Well,
31:49he's going to make us lose
31:50all our money, Miguel.
31:52You're going to lose your wedding.
31:54But, let's see,
31:55can you tell me what's going on?
31:56He wants to publish
31:57an ad in the newspaper.
31:59He says that's how
32:00good people do it.
32:01This guy and that girl
32:03have the honor
32:04of announcing
32:05their next wedding
32:06in the church of Tararí Tarará.
32:07But who told this man
32:08not to publish
32:09any ad?
32:10He says it's a gift
32:11for you.
32:12The mother who brought him.
32:13And he says
32:14he already has the school
32:15in the Iberian correspondent.
32:17And that he only needs
32:18the name of the hermit
32:19to call,
32:20and that tomorrow
32:21the school will be published.
32:22Did you give it to him?
32:23No.
32:24Me.
32:25But do you want me
32:26to be convicted or what?
32:27No, no, no.
32:28I made up any excuse
32:29and I got out
32:30as soon as possible.
32:31But that man
32:32doesn't stop trying.
32:33I think
32:34we should forget
32:35about the wedding.
32:36Forget about the wedding?
32:37No, no,
32:38I don't think so.
32:39No.
32:40Miguel,
32:41you already know
32:42how much I risked this
32:43and that I,
32:44for a friend,
32:45whatever.
32:46But it's just that
32:47I have to do it
32:48with discretion.
32:49I'm sorry,
32:50but this
32:51ends here.
32:56What a success,
32:57my dear Agustín,
32:58what a success.
32:59A very instructive
33:00and very pleasant conference.
33:01Thank you for mentioning
33:02the store.
33:03It would be necessary.
33:04With so much mention
33:05of the commercial future
33:06of cinema,
33:07I'm thinking
33:08that investing
33:09would be a good idea.
33:10I'm not going to lie to you,
33:11Mr. Fermin,
33:12it's a very risky
33:13business.
33:14Well,
33:15in the current political situation,
33:16any business
33:17is risky.
33:18And besides,
33:19you know what they say,
33:20the one who doesn't risk
33:21doesn't win.
33:22But think that
33:23projection machines
33:24are very expensive
33:25and after making that expense,
33:26the businessman depends
33:27on getting titles
33:28that attract
33:29the general public.
33:31For example,
33:32The Court of Pharaoh
33:33wouldn't seem
33:34like a good movie.
33:35Especially
33:36if I have
33:37an exceptional vocalist
33:38like Inés Balbuena.
33:40In that case,
33:41people would
33:42run to the cinema,
33:43for sure.
33:44And now,
33:45if you allow me,
33:46I have prepared
33:47a little something for you.
33:58Elías,
33:59come in for a moment.
34:03Man, Aureliano,
34:04father,
34:05we've been looking
34:06for you all over the gallery.
34:07You left me
34:08with the word in my mouth.
34:10Well,
34:11I just had
34:12a book reserved.
34:14I don't know, it's fog.
34:16It's fog!
34:17Miracle!
34:18Miguel, miracle!
34:19Well,
34:20what a mess.
34:21I started reading it
34:22and I had to leave it.
34:23It turns out
34:24there's a scene
34:25where the protagonist
34:26of the novel
34:27starts talking
34:28to Mr. Unamuro,
34:29the author.
34:30What a thing!
34:31Yes, yes.
34:32And Unamuro
34:33answers him and says,
34:34be careful,
34:35I created you
34:36and if I want,
34:37I'll kill you.
34:38What a mess.
34:39Anyway,
34:40Aureliano,
34:41when are we
34:42going to talk
34:43about the novel?
34:44Well,
34:45you'd better
34:46talk to Miguel.
34:47Yes.
34:48Look, Elias,
34:49I think
34:50all this
34:51about the ad
34:52in the newspaper
34:53doesn't convince me.
34:54But, father,
34:55the ad surprised me.
34:56Yes,
34:57Father Aureliano,
34:58who knows me well,
34:59told me
35:00because he knew
35:01I wouldn't like it.
35:02But what do you mean
35:03you wouldn't like it?
35:04Miguel, listen.
35:05Look,
35:06if we buy a book
35:07in the Eco Society section,
35:08the newspaper sends you
35:09a free photographer
35:10to take a picture,
35:11a portrait,
35:12and send it to you.
35:13Yes,
35:14a round business.
35:15But we don't like
35:16the pictures,
35:17the ads,
35:18or anything like that.
35:19We want a discreet wedding.
35:20A small hermit,
35:21a few friends,
35:22the family that can.
35:23But this is a wedding,
35:24not a funeral, Miguel.
35:25We'll have to give it
35:26a little grace,
35:27a wedding that shines,
35:28man,
35:29with a little posthumous.
35:30I'm telling you no,
35:31damn it.
35:33I'm very grateful to you,
35:34that aside,
35:35but you're going
35:36to make us
35:37have a bad time,
35:38Elias, understand that.
35:39No, no, no,
35:40if I'm going to make you
35:41have a bad time,
35:42then no,
35:43we cancel it.
35:44The only thing is that
35:45I made an advance
35:46for Araskela.
35:47Oh,
35:48I'm so sorry, man.
35:49Oh, well,
35:50don't be so sorry,
35:51our father,
35:52and do something
35:53to make it up to me.
35:54Me,
35:55make it up to you?
35:56Yes, man,
35:57between the fact that
35:58he ripped me off
35:59the surprise
36:00of the newspaper ad
36:01and the fact that
36:02it cost me some money,
36:03well, I say
36:04that at least
36:05a slight,
36:06minimum,
36:07concrete confession,
36:08father.
36:09But again,
36:10you're going to a church
36:11and you confess?
36:12I couldn't get you
36:13out of the stroller
36:14here for a moment,
36:15man,
36:16taking advantage
36:17of the fact that
36:18I'm on vacation.
36:19What are you saying,
36:20Elias,
36:21that this is a bookshop?
36:22From what I hear,
36:23Miguel,
36:24the important thing
36:25is not the place,
36:26it's the sacrament,
36:27and then my regret
36:28that is sincere,
36:29father.
36:30Well,
36:31very well,
36:32I'm sorry,
36:33but I don't have time.
36:34Well,
36:35with God.
36:36The book,
36:37you haven't paid me for it.
36:38You have to see
36:39between the bears
36:40that are the boyfriends
36:41and the style
36:42that is the priest,
36:43you have to see what wedding.
36:44Eh?
36:45José Miguel?
36:46José?
36:47Do I have to call you?
36:48Or José?
36:49Eh?
36:50Chema?
36:51Josemi?
36:52Chemita?
36:53Pepe?
36:54Eh?
36:55Or Miguel José?
36:56I don't know
36:57what to call you anymore,
36:58Miguel.
36:59Pepe.
37:10How are you, Agustín?
37:11Have you been able to pick up
37:12the magic lantern?
37:13Yes,
37:14everything is in good order.
37:15It is very delicate
37:16and you have to take good care of it.
37:17How is the store?
37:18I have seen a lot of people
37:19come in.
37:20Well,
37:21well, well.
37:22Yes,
37:23the truth is
37:24that we are having
37:25more influx than ever
37:26and all thanks
37:27to your conference.
37:28Well,
37:29I also have the cinema
37:30from boat to boat.
37:31I think that the voice
37:32has run away
37:33and people have come
37:34from the tea room.
37:35What a success, eh?
37:36We will have to repeat it.
37:38Well,
37:39thank you very much
37:40for your purchase,
37:41Mr. Ramón.
37:42You will see
37:43what surprises
37:44Mrs. Nuria will bring.
37:45Have a nice day.
37:50Another German model
37:51sold out.
37:52Come on, another one?
37:53Well,
37:54if there are almost none left,
37:55we'll have to ask for more.
37:57Well,
37:58I'll let you
37:59and I'll keep working.
38:03You weren't very interested
38:04in the conference, were you?
38:05No,
38:06I found it very interesting
38:07and very pleasant.
38:08For someone
38:09who doesn't know much
38:10about cinematography,
38:11I think it was
38:12a very good experience.
38:14But you haven't said
38:15much from what I see.
38:16No, that's not it.
38:17It's just that
38:18I'm quite familiar
38:19with the subject.
38:21My God,
38:22the only opinion
38:23I'm interested in
38:24was yours and nothing else.
38:27It's hard to impress you, isn't it?
38:36Will Pietro come for lunch?
38:39I don't know, daughter,
38:40I don't know.
38:41You know how this man is.
38:44Do you want me to ask him?
38:46No, no, no.
38:48He'll come, if he can.
38:53Hello.
38:57Hello, Pietro.
38:59Are you going to stay
39:00for lunch with us?
39:02Of course.
39:03If you don't mind.
39:05No, not for me.
39:07Maybe for Lucia, I don't know.
39:09I haven't seen you all day.
39:11Yeah, I've been very busy.
39:13Yes, yes, of course.
39:15I went to get you at the salon,
39:17but they told me
39:18you had gone out
39:19to take some orders.
39:20Yes, yes, yes,
39:21they told me, yes.
39:23Well,
39:24I'd better wait for you inside
39:25so you can talk
39:26quietly.
39:33Okay.
39:38The thing is,
39:39what he said
39:40could have been said
39:41by anyone.
39:42I was expecting
39:43a personal touch.
39:44A personal touch?
39:46Yes, I don't know.
39:47I don't know why
39:48he got the idea
39:49to become a filmmaker.
39:50Or if it was because
39:51of a movie he saw
39:52or an artist
39:53he fell in love with.
39:54I don't know.
39:55I understand.
39:57It's a good idea.
39:59If we repeat the conference,
40:01I'll start by saying
40:03why I became interested
40:04in cinema.
40:06By the way,
40:07it was because of
40:08Coq's asylum.
40:09What?
40:10Tuberculosis.
40:11I contracted it when I was a teenager.
40:13I spent
40:15more than a year
40:16in an asylum in Tisico.
40:19I never would have imagined
40:20that you were from Tisico.
40:22No, no,
40:23but now
40:24I'm completely cured.
40:26But it's true
40:28that at the time
40:30I thought I was going to die.
40:31Yes.
40:32If it wasn't for Tisico,
40:34it was because of boredom
40:35because I was the only kid
40:36who was in that house
40:37lost in the middle of the Pyrenees.
40:39And you projected movies there?
40:41No.
40:42No, no.
40:43There was nothing there.
40:44Not even a sad gramophone.
40:46That's why my father
40:47bought me a magic lantern
40:48which is the same
40:49magic lantern
40:50that I used
40:51in the conference.
40:52Of course.
40:53Now I understand
40:54why you explained
40:55the operation
40:56of that gadget
40:57with so much love.
40:58I spent
40:59hours
41:00looking at prints
41:01of that gadget.
41:02There was one
41:03that was
41:04from a beach
41:05that reminded me
41:06a lot
41:07of the Sundays
41:08of my childhood
41:09on the beach
41:10of Barceloneta
41:11and
41:12letting me
41:13get carried away
41:14by my imagination.
41:15That's what
41:16I should have told you.
41:17And it wasn't the only one.
41:18Because there was a moment
41:19when
41:20I shared
41:21the prints
41:22with the rest of the inmates
41:23and
41:24I made up stories
41:25about trips
41:26and
41:27distant places
41:28and
41:30I had to see their faces.
41:32They were
41:34fascinated.
41:36Well,
41:37that's what I meant
41:38with a personal touch.
41:41I won't forget.
41:55Are you mad at me?
41:56No.
41:57I understand.
41:59Madness
42:00is not the word, Pietro.
42:03But you tell me
42:04about this situation.
42:06You under the same roof
42:07as that woman
42:08and I don't understand
42:09why she doesn't go to Italy.
42:10Antonia, you know
42:11how these things are, don't you?
42:12No, Pietro.
42:13I don't know.
42:14I don't know
42:15because I've never experienced it
42:16and I don't know anyone
42:17who has experienced something like this.
42:18I don't know.
42:19The only thing I know
42:20is that it hurts.
42:21It hurts a lot, Pietro.
42:23That I go to bed alone
42:24every night
42:25while you are
42:26with that woman.
42:27I don't even touch her.
42:29Let's see what you think, Antonia.
42:30I don't think anything, Pietro.
42:32I say what it is.
42:34You are under the same roof as her.
42:36Besides, she is your wife.
42:38She is your wife, Pietro.
42:40Before God and before the law.
42:41She is.
42:42I don't care about the law.
42:44I only care about you.
42:46I don't care about God
42:47as much as I care about you, Antonia.
42:48Don't do this to me, please.
42:50Please, Antonia.
42:52Please.
42:54Everything that has happened
42:55is nothing.
42:56It's what I feel.
42:57Nothing.
43:01When we get Lucia
43:02to return to Italy,
43:04if you want,
43:05everything can go back
43:06to the way it was.
43:11I want you to stay for dinner, too.
43:15Tonight and every night,
43:16if you don't mind.
43:17Yes, of course.
43:19And for breakfast, too.
43:21If you have to sleep with her,
43:22she will do it.
43:23You can sleep with her,
43:24but...
43:26But you do everything else
43:27here with me.
43:28Yes, everything.
43:29Everything, my love.
43:30Everything.
43:31Come here.
43:55Barbara?
44:00Barbara?
44:12Operator,
44:13I'm going to have to
44:14call you back.
44:15I'm sorry,
44:16but I can't.
44:17I have to go.
44:18I have to go.
44:19I have to go.
44:20I have to go.
44:21I have to go.
44:22I have to go.
44:23Operator?
44:25Yes, connect me, please.
44:28I'll give you the number.
44:307
44:329
44:34558
44:37I'll wait.
44:54Thank you.
45:04Pietro,
45:05how are you?
45:07Good, good.
45:08Sit down.
45:09Make yourself comfortable.
45:10I'll heat up a plate of dinner
45:11in a minute.
45:12I didn't know
45:13when you were coming.
45:15I'm sorry,
45:16but I'm not hungry.
45:17I already ate.
45:19Okay, okay.
45:20Sit down and rest.
45:22Have you tried this wine?
45:26Tell me if you like it.
45:31Do you like it?
45:34It's good, yes.
45:36Let me serve you
45:37a plate of food
45:38just to try it.
45:39It's your favorite dish, Pietro.
45:52How wonderful.
45:55I'm sorry,
45:56but I already had dinner
45:57and snack
45:58at Antonia's house.
46:01I should have asked you
46:02before cooking.
46:06I'm sorry, Lucia,
46:07but we always
46:08have dinner together.
46:11Keep in mind
46:12that we'd be husband and wife
46:13if it weren't...
46:14If it weren't for me.
46:16It's not your fault.
46:18It was fatality.
46:19It was fatality.
46:21Yes, Pietro.
46:22It's a fatality
46:23that I'm alive.
46:24It would be much better
46:25for everyone
46:26if I were dead.
46:27Please,
46:28don't say that.
46:31I value you a lot.
46:33You are the mother of Giancarlo,
46:35the mother of my son.
46:38Before,
46:39it was much more than this for you.
46:43Yes,
46:44it's true.
46:46You were my first love.
46:50The first love of my life.
46:55You don't know
46:56how much I've suffered
46:57since you left.
46:59I know
47:00because I've suffered a lot too,
47:01Pietro.
47:02You're right.
47:03More than me.
47:06At least you found Antonia.
47:09I'm alone in the world.
47:12I swear
47:13I haven't been with any woman
47:14all this time.
47:16None.
47:18Antonia's problem
47:19has come up little by little.
47:21Of course,
47:22and I don't reproach you
47:24if she seems like a good woman.
47:26She is,
47:27and a lot.
47:31And I'm very happy
47:32by her side.
47:35You deserve it.
47:41Tell me something, Pietro.
47:44If I had come back earlier,
47:47before you met her,
47:50what would have happened?
47:53Would we be together again?
48:02I'm sorry it's silly to ask you this.
48:10I'm going to bed.
48:15Good night.
48:17Good night.
48:33No, it's not necessary.
48:34Thank you.
48:36Just send me a message
48:37when you have them in the store.
48:40Thank you.
48:41Goodbye.
48:47Goodbye.
49:02Barbara?
49:06Barbara!
49:17Barbara!
49:39No one believes me
49:40and everyone questions
49:41what I do all the time.
49:42Do you believe me?
49:44I'm surprised to see you
49:45with a study manual.
49:47Well, you see.
49:48Are you going to study?
49:49That's my thing, right?
49:50I didn't know you studied.
49:52What's wrong?
49:53Don't you think I'm capable?
49:54Good morning.
49:55I have to go.
49:56No, you have to
49:57save a moment
49:58and talk to me.
49:59I have already sold
50:00all the assets
50:01we had planned.
50:02You will get
50:03more liquidity
50:04than you thought.
50:05You don't know
50:06the great favor
50:07you are doing to us.
50:08To you and who else?
50:09As soon as the news
50:10gets to Ankura,
50:11I'm going to lose my hair.
50:12That's all.
50:13I'm going to lose my job.
50:14I can't even risk it.
50:15We have to find
50:16a good excuse
50:17to cancel the wedding.
50:18That's the first thing.
50:19I have an idea
50:20that can help you.
50:21The truth is
50:22I'm in a hurry
50:23to cook for Pietro.
50:24He has a very high list.
50:25Luckily,
50:26the other day
50:27he said
50:28that my cachepepe
50:29tasted like glory.
50:30It's a shame
50:31that we won't
50:32try his dishes again, right?
50:34Returning soon
50:35to Italy.
50:36At the consulate
50:37they tell me
50:38it's a complicated process.
50:40And they advise me
50:41to be patient
50:42and not to separate from Pietro.
50:44I don't want
50:45to get any closer
50:46to Agustín.
50:47Are you sure?
50:48Yes.
50:49Right now
50:50I don't want to take any risks.
50:51I still don't understand
50:52why she got like that.
50:53She's like...
50:54angry
50:55or embarrassed.
50:56Sometimes it's hard
50:57to admit
50:58that you've been left behind.
51:00That you have
51:01certain child needs.
51:02What?
51:05No, it's not Ben Ester
51:06who describes it to me.
51:07I know perfectly well
51:08who it is.
51:09Thank you.
51:10Did you think
51:11I wouldn't find out
51:12what you've done?
51:13What?
51:14Taking a client's reservation?
51:15No.
51:16Smoking in my old job.
51:17Do you think
51:18I'm stupid?
51:19Teresa
51:20is obsessed with me.
51:21So I feel
51:22obliged
51:23to recommend
51:24Mr. Fermin
51:25to resign.
51:27I hope
51:28nothing bad happened.
51:29One of my patients
51:30is going to start
51:31a season
51:32at the Olympia Theatre
51:33in Paris.
51:34The artist needs
51:35my services
51:36and I have a contract
51:37with her.
51:38So I have to
51:39do something.
51:40If there's a contract
51:41in the way,
51:42you can't do anything.
51:43Cancel the wedding.
51:44That's it.
51:45I've said it.
51:46Major cause of strength.
51:47I assure you.
51:48Are you asking
51:49me to fire
51:50Teresa and Cañete?
51:51If they continue like this,
51:52they could compromise
51:53my authority.
51:54The doctor called me.
51:55He's discovered something.
51:56It was you
51:58who bought
51:59the San Cayetano medal
52:01that appeared at home.
52:02Matilde,
52:03we all know
52:04that health
52:05comes first
52:06and that you
52:07must be focused
52:08on recovering.
52:11I don't think you can
52:12hold on much longer.
52:13We have to take a step forward.
52:15A step forward
52:16towards entering the sanatorium,
52:17right?
52:18It's an option.
52:19Just think about it.
52:20But it can't go on like this.
52:38I'm sorry.
52:39I'm sorry.
52:40I'm sorry.
52:41I'm sorry.
52:42I'm sorry.
52:43I'm sorry.
52:44I'm sorry.
52:45I'm sorry.
52:46I'm sorry.
52:47I'm sorry.
52:48I'm sorry.
52:49I'm sorry.
52:50I'm sorry.
52:51I'm sorry.
52:52I'm sorry.
52:53I'm sorry.
52:54I'm sorry.
52:55I'm sorry.
52:56I'm sorry.
52:57I'm sorry.
52:58I'm sorry.
52:59I'm sorry.
53:00I'm sorry.
53:01I'm sorry.
53:02I'm sorry.
53:03I'm sorry.
53:04I'm sorry.
53:05I'm sorry.
53:06I'm sorry.