hanane2M
hanane2M
  • 2 months ago
Transcript
00:00I don't know why I'm asking you.
00:02You don't tell me what to do. I can do whatever I want.
00:05Besides, you're not my mother.
00:07I just wanted to let you know that you have to take care of the classroom this afternoon.
00:12You won't be able to count on me or Mr. Fermin.
00:15He invited me to spend the afternoon in the schoolyard with his nieces.
00:19So, all that about...
00:21I don't know.
00:22I don't know.
00:23I don't know.
00:24I don't know.
00:25I don't know.
00:26I don't know.
00:27I don't know.
00:28So, all that about you not wanting to give us problems,
00:32about you not wanting to ruin our wedding, all of that was a lie, of course!
00:35Of course!
00:36I understand that you're angry, Victoria, but please, please, I'm only asking that you don't do it with me.
00:41I have nothing to do with all of this because I only want you.
00:43That's right, but you're married to that woman!
00:45Think about what it implies.
00:46To bring her on the street, take her to the port,
00:49to ship her abroad...
00:51You have to be very careful.
00:53Among other things, to not treat me like I'm an idiot.
00:56Te lo juro que voy a solucionar todo y nos vamos a casar. Te doy mi palabra, amor mío.
01:04Ya lo veremos. La tiene tomada conmigo. Ha tenido que madurar más rápido de lo normal.
01:09Lo más preocupante sería que no estuviera rebelde y contestona. Fíjate lo que te digo.
01:13Si siente el valor de enfrentarse a ti es porque sabe que tu cariño no le va a faltar nunca.
01:18Y eso es lo más importante, Matilde.
01:21Me parece un proyecto magnífico estudiar. Y yo no voy a distraerla en nada.
01:27Bueno...
01:30Me parece muy sincero. Te voy a creer. Pero voy a estar muy pendiente.
01:36Muy pendiente.
01:39¿Me puedes explicar? Pero ya. ¿Quién demonios se va a casar con quién?
01:43En los montes inquilinos esos que no me entero de nada.
01:48Entiendo que lo ame. Yo también le amo.
01:53Pero él me ama a mí. ¿Lo entiende?
01:58Y entiende que voy a defender ese amor con todo lo que tengo.
02:02Si me surge la oportunidad de trabajar con un artista de renombre internacional, ¿qué hago?
02:06¿La rechazo? Además es que solo serán unas semanas de nada.
02:11Sí, claro. Primero serán unas semanas y luego serán unos meses.
02:14Y yo mientras aquí con la puñetera tienda sola.
02:16Por favor, Laura, no me hables en ese tono. Por favor, te lo pido.
02:19¿Pero qué tono, Celia? Eres tú la que lleva unos días hablando de mí de una manera que no...
02:23¿De qué manera te hablo?
02:26No le voy a negar que es peligroso que salga a la calle. Pero más peligroso es que me quede aquí.
02:31Acabaré volviéndome loca o peor, acabaré prendiéndole fuego a esta casa. Así que déjeme salir.
02:36¡Que no!
02:39¡Celia!
02:40¡Celia!
02:42¡Celia!
02:45¡Cierra la puerta! ¡Cierra la puerta!
02:48¡Ayúdame, Celia!
02:50Será mejor que nos olvidemos de los errores del pasado y sigamos adelante.
02:56Creo que es demasiado tarde para eso.
03:00Yo solo veo una solución.
03:05Separarnos.
03:11No puedes. Yo estaré hablando en serio.
03:16¿De verdad tú crees que podemos seguir juntos después de todo lo que ha pasado?
03:20Dice por el amor de Dios. Tú y yo hemos superado cosas muchísimas peores que esta.
03:25Acuérdate en las condiciones en las que nos casamos.
03:27¿Qué tiene que ver una cosa con la otra, Íñigo? Yo nunca he querido encerrarte en un sanatorio.
03:32Perdóname que te recuerde, pero estuviste a punto de matarme con un cuchillo.
03:37Y tú no has tenido a un médico taladrándote la cabeza,
03:39diciéndote que la única manera de salvar a tu esposa, a la persona que más quieres,
03:43es metiéndola en un sanatorio.
03:46Y sí, tienes razón, no debéis dejarme engañar por doña Bárbara,
03:49pero por favor, no puedes culparme de eso.
03:51Yo no te estoy echando la culpa. Simplemente no puedo seguir con alguien que piensa esto de mí.
03:55Yo no pienso eso de ti, Matilde. Fue el médico el que me dijo eso, por favor.
03:58Sí, un médico también te dijo que estaba a punto de morir y no te rendiste en ningún momento.
04:02Al parecer no recordamos lo mismo.
04:04Porque creo recordar que ambos estábamos convencidos de que ibas a morir.
04:08Sí. Y aún así llamaste a otro doctor porque te negabas a aceptarlo.
04:13Y aquí no llamaste a otro doctor, Íñigo. Aquí le diste la razón a Mendoza.
04:17Es una Mendoza.
04:29Clarita ya está en casa de Antonia. De momento voy a dormir allí.
04:36¿Cómo que a casa de Antonia?
04:39No. No, no, no. De aquí no os movéis. Esta es vuestra casa.
04:43Si se va alguien soy yo. Yo me voy a un hotel. Pero aquí os quedáis vosotras.
04:46Íñigo, que no te voy a echar de tu casa. La que se va soy yo.
04:49Matilde, podemos dormir separados si quieres.
04:51Íñigo, por favor. Y eso lo he dicho a Clarita. Así que no te opongas.
04:54No, no, Matilde. Por favor, todo lo que he hecho, lo he hecho pensando que era lo mejor para ti. Créeme.
05:00Sí, ya lo sé. Ya sé que no querías hacerme daño.
05:05Pero Íñigo, que tu propio marido piense que la mejor opción es encerrarme no es muy tranquilizador que digamos.
05:12Le dije al doctor Mendoza que no te iba a ingresar a la fuerza. Que serías tú la que lo decidía.
05:19Dime una cosa. Si Marta no hubiera encontrado a Brígida, ¿qué habrías hecho?
05:32Vendré a recoger mis cosas.
05:35¿Cómo que a recoger tus cosas? ¿Qué piensas? ¿Marcharte? ¿No quieres volver aquí?
05:41Mira, ahora lo único que necesito es separarme de ti.
05:47Y no me pidas que te diga por cuánto tiempo porque no quiero decirte que van a ser dos o tres días para que luego te sientas engañado.
05:56Adiós.
06:02Estás cometiendo un error.
06:04Es muy posible.
06:07Pero ahora estoy convencida de que esto es lo mejor para los dos.
06:11O al menos para mí y para Clarita.
06:16Lo siento.
06:33¡La moderna escribió nuestro poema de amor!
06:48Hay sitios que nunca se olvidan. El mío está en tu corazón.
06:56Como en un ajedrez, tú y yo sin saber, nos vamos jugando el amor.
07:04Hay sueños que son de por vida y siempre son un borrador.
07:12Tú y yo somos más, queremos volar. Lo nuestro es un viaje hacia el sol.
07:21Por siempre tú y yo soñando en un salón.
07:30Somos gaviotas que nos detengan en la moderna, es posible el amor.
07:38Por siempre tú y yo un solo corazón.
07:46Somos valientes, si no lo intenten, en la moderna hay un mundo mejor.
07:54La moderna escribió nuestro poema de amor.
08:16Pasad, pasad.
08:21Deja lavar el sofá.
08:30Cuidado.
08:35¿Cómo va ese dolor?
08:38Como si me estuvieran perforando la cabeza.
08:40Bueno, paciencia. El doctor ha dicho que no hay fractura craneal.
08:45Así que ahora lo que toca es descansar mucho, dejarse cuidar y aguantar.
08:52Qué remedio, don Fermín.
08:55Ay, de verdad, qué vergüenza.
08:58Es que no debería estar aquí, debería estar en mi habitación y no aquí estorbando y molestándose.
09:06No, Celia, no digas eso. Como ha dicho mi tío, te tienes que dejar cuidar.
09:11Además, los médicos nos han dicho que te tenemos que vigilar por si te mareas o pierdes el conocimiento.
09:17Claro, por si tienes un edema.
09:20Sí, un edema, eso es edema. Y eso a veces tarda un par de días en salir.
09:23¿Ya habéis oído al médico? El primer síntoma directo es al hospital.
09:28Agustín, me han dicho que usted me salvó la vida. Muchísimas gracias.
09:33Bueno, no sé si para tanto.
09:35Sí, Agustín, sí, sí. No sé qué temérito, que si no llegase por usted, esa marabunta lo hubiera pisoteado como una alfombra.
09:41Ay, tío, por favor, no diga eso.
09:43Gracias. Bueno, pues si os parece, voy a preparar un café y una copita para los caballeros andantes.
09:50Pero ¿copita ni qué copito? Lo que necesita ahora Inés es descansar. Déjate de copitas.
09:55Yo creo que don Fermín tiene razón, aquí sobramos. Así que mucho ánimo y a recuperarse.
10:00Si necesita cualquier cosa, me lo dicen y yo me ocuparé.
10:09Bueno, pues nosotras vamos a buscar un camisón para Celia, ¿o prefieres que vayamos a por tus cosas?
10:15No, es muy tarde ya. Yo le dejo un camisón. ¿Te parece? Lo que tú digas.
10:21Muy bien, pues entonces yo duermo en el sofá y tú duermes en la habitación con Laurita. ¿Te parece?
10:28No, no, Inés. Por favor, ¿cómo te voy a sacar de tu cama?
10:31No, pero Celia, por favor, déjate cuidar.
10:35No, no, Inés.
10:37Venga, voy a cambiar las sábanas.
10:50Menudo susto nos has dado. Cuatro horas en el hospital se dice pronto.
10:55Pero ha valido la pena.
10:58¿Por qué dices eso?
11:02Por las fotografías. Creo que han quedado muy bonitas.
11:25Hola.
11:27¿Llegaste ya a tiempo?
11:29Por los pelos, pero sí.
11:31Qué graciosa Clarita, tan preocupada por llegar a su hora. Qué aplicada.
11:35Déjeme que la ayude.
11:37No, no te preocupes. No hace falta.
11:39¿Cómo no hace falta? Nos hemos metido las dos de balde en su casa. Lo mínimo es ayudarle con las tareas, ¿no le parece?
11:44¿Qué tal se duerme en el colchón?
11:46Bien. ¿Y Marta ha podido descansar? Porque Clarita por las noches es como una lagartija.
11:50A veces aparece con los pies en el cabecero y la cabeza sumando por un lado.
11:54Pobre. Pues sí, no me ha dicho nada. Supongo que sí, que habrá dormido bien.
11:58Gracias por acogernos, Antonia.
12:00Sé que es un momento muy malo para usted y con esa mujer rondando por ahí.
12:05Nada, no te preocupes. Podéis quedar en el tiempo que necesitéis, ¿eh?
12:09Es usted una santa.
12:11No, no soy una santa. Soy una amiga.
12:13Lo único que me gustaría es tener otro cuarto más para que estuviera ahí más cómoda, pero bueno, como hay confianza...
12:19Procuraré que sea el menor tiempo posible.
12:25¿Te importa si te pregunto qué es lo que ha pasado para que tomes esa decisión?
12:30He perdido la confianza de mi marido, Antonia.
12:34Darme cuenta de que quería ingresarme me ha hecho ver que me he precipitado casándome con él.
12:41Ya.
12:43Pero a lo mejor es un poco tarde para decir que te has precipitado, ¿no?
12:49Cariño, no me mires así. Soy tu amiga y quiero hablarte con sinceridad.
12:52Ya sabes lo que es estar casada. Hay que estar en las buenas y en las malas.
12:59Pero ¿cómo es posible? ¿Cómo se os ocurre?
13:03Es que esto no se le ocurre ni al que asó la manteca.
13:06Ir por ahí diciendo que no estáis casados, además, ¿para qué?
13:09¿Cómo que para qué? Pues para no perder el trabajo en la moderna.
13:12Que ahí solo contrataban a mujeres solteras.
13:16Bueno, y si es por eso no se te ocurre buscar otro trabajo en otro sitio, muchacha.
13:19Otro trabajo mejor que la moderna, que está en el centro y con esas condiciones...
13:24Y justo enfrente de mi trabajo.
13:26Aunque, bueno, eso al final ha sido más un inconveniente que no...
13:30¡Cállate! No, hija, yo entiendo que ser dependiente en un sitio tan fino gusta mucho.
13:35Que es mejor que fregar escaleras o ser niñera de un mocoso malcriado.
13:39Pero es que mira cómo te ves ahora.
13:41Sí, ya lo sé. Ya sé que me veo en un brete, ya lo sé.
13:44Pero todo estaba controlado hasta que viniste tú a decir lo que no hay que decir.
13:47Es verdad. Ahora tengo yo la culpa.
13:50No, no, no. Decimos que la culpa sea toda suya.
13:55Simplemente le pedimos que sea un poco más discreta mientras arreglamos este asunto.
13:59¿El asunto? ¿Vais a arreglar este asunto? ¿Y cómo? ¿Por el amor de Dios?
14:02Bueno, pues al principio parecía que no había solución.
14:05Pero hace unos meses don Fermín anunció que ahora permite a las mujeres que trabajan ahí casarse.
14:11Bueno, pero eso no arregla las cosas, porque el hombre no te va a perdonar...
14:14...que hayáis estado tanto tiempo engañándole.
14:17Bueno, nosotros hemos pensado en otra cosa.
14:21¿Otra cosa? ¿Qué cosa? ¿Qué cosa? Miedo me dais.
14:24Bueno, madre, por favor, tranquilízate. De acuerdo que está todo controlado.
14:28Lo que vamos a hacer es...
14:30¿Casarnos?
14:32¡Ah! Buena idea.
14:35Solo que se te olvida un pequeño detalle, que ya estáis casados.
14:38Y tú podrías haberte esmerado más y elegir un marido mejor.
14:41Pues muchas gracias.
14:42De nada.
14:44A ver, sí que podemos casarnos y es lo que vamos a hacer.
14:46Bueno, eso es lo que haremos creer al resto del mundo.
14:49¡Ah! Ahora entiendo lo de los Montes Quintilianos.
14:52Aquilianos.
14:54Te callas.
14:56Vais a fingir que os casáis ahora, ¿no es eso?
14:58Y luego vais a decirle a todo el mundo que os casáis en el Quinto Pino.
15:01Y así os evitáis que vaya alguien conocido, ¿no es eso?
15:04Exacto. Está bien pensado, ¿eh?
15:06No, sí que todo este disparate es idea tuya, no me cabe la menor duda.
15:10¿Y habéis fingido también lo del noviazgo? ¿Y todo la pesca?
15:14Bueno, sí, ha ido todo deprisa y corriendo.
15:18Y bueno, sí que es verdad que hay una compañera que creo que sospecha de mi embarazo.
15:24¡Ay, madre mía!
15:26¡Claro que uno va a sospechar si es que la gente no es tonta!
15:29Mejorando lo presente.
15:31¡Cállese! La cuestión es que nosotros supuestamente nos vamos a casar en Peñalba de Santiago, provincia de León.
15:37Y vamos a estar allí unos días.
15:38Así que no podemos asomar la gaita por la calle ni para ir a por el pan.
15:42No, tendremos que encerrarnos a cal y canto. Vamos, como mojitas de clausura, ¿de acuerdo?
15:46Y mientras tanto, si se va a quedar usted unos días aquí en Madrid, tenga cuidado con lo que dice.
15:53Sí, yo creo, madre, que sería mejor que no aparecieras por la moda.
16:00Yo apareceré por donde me dé la gana.
16:03Pero no os preocupéis, que no voy a decir ni una sola palabra.
16:06¿Estás segura, madre?
16:08Mira, si os descubren y os despiden, que es lo más probable, no será por causa mía.
16:14Así que no os preocupéis, seré una tumba. Tú, el de las ideas, sírveme.
16:22¡Ya!
16:24¡Qué susto!
16:29Me está diciendo que tengo que aguantar todo lo que haga mi marido.
16:32No me estoy diciendo eso. Estoy diciendo que quizá hay que luchar un poco más.
16:38Tú misma lo dijiste, Matilde. En la riqueza, en la pobreza, en la salud y en la enfermedad, hasta que la muerte nos separe.
16:45Sí, sí, me acuerdo. Pero hay cosas que no se pueden tolerar.
16:48Lo sé, y eso lo entiendo, pero a lo mejor estás siendo un poco injusta con él.
16:52Lo que él te hizo...
16:54¿Le parece poco?
16:56No, me parece terrible, Matilde, terrible. Pero ¿no te das cuenta de que te puede denunciar por abandono del hogar?
17:01Que solo le bastó una llamada a la policía.
17:03Íñigo no sería capaz de hacer eso.
17:05Exactamente, porque él no es una mala persona.
17:09Yo no he dicho eso. Yo no he dicho que sea una mala persona, Antonio. Es un hombre maravilloso, pero...
17:14Pero nada. Matilde fue el hombre al que tú elegiste, con el que te casaste, porque le quieres y porque él te quiere.
17:23Y un matrimonio es para toda la vida. Bueno, ahora ya dicen que va a venir el divorcio, pero no sé yo.
17:30No quiero hablar del tema. ¿Qué tal le va las cosas con Pietro?
17:38Pues no muy bien, la verdad. Esa mujer no hace más que meterse por medio, por mucho que yo le haya dicho que Pietro es el hombre de mi vida y que me da igual que esté encasado.
17:48El matrimonio es para toda la vida, pero a veces no tanto.
17:51Entiendo por dónde va, pero no es exactamente lo mismo.
17:56Es verdad. No es lo mismo. Pero fíjese lo que le digo. Yo creo que se arreglará antes lo suyo con Pietro que lo mío con Íñigo. Ya lo verá.
18:11¡Ya está aquí! ¡Vamos, vamos! ¡Todos, ya está aquí! ¡Ya viene!
18:15¡Don Fermín! ¡Buenos días!
18:18¿Doña Alafra?
18:19Sí.
18:25Gracias, pero ya está bien, por favor.
18:28Permítame que le diga, de parte de todos los empleados, que estamos muy orgullosos de la actuación de ayer.
18:35¡Bravo, patrón!
18:37Muy bien, don Fermín.
18:39Bueno, la verdad es que no soy consciente de haber hecho nada especial.
18:43Afortunadamente, la manifestación no tuvo más que consecuencias materiales, y además se ha oído en prensa que se han acabado las algaradas.
18:50Aunque eso sí, nosotros, por favor, estemos atentos por si acaso.
18:54Yo les he dicho a los camareros que no se hagan nada especiales.
18:57No, no, no.
18:58No, no, no.
19:00Yo les he dicho a los camareros que no dejen desatendida la terraza ni un solo momento.
19:04Aunque no haya clientes, siempre habrá un camarero con un ojo fuera.
19:07Muy bien hecho, Cañete. Gracias.
19:09Y ahora, por favor, vuelven a sus quehaceres, y gracias de nuevo.
19:18Esto sí es de su hija, ¿verdad?
19:21No, por supuesto que no.
19:23Es de mi hija.
19:24Esto sí es de su hija, ¿verdad?
19:26No, por supuesto que no.
19:28Esto ha sido una expresión espontánea de los empleados que le quieren a usted como a un padre.
19:32Lo que más lamento es que nos hayamos perdido en nuestra excursión al escorial.
19:37Fue una pena, sí.
19:39Pero las circunstancias...
19:41Habrá más ocasiones, si le parece bien.
19:43Me parece muy bien, don Fermín.
19:45Cuando usted quiera, al escorial o donde usted disponga.
19:49Por cierto, ¿qué tal Celia?
19:51Bueno, estuvo varias horas en el hospital,
19:53pero finalmente el doctor le dio el alta.
19:56Eso sí que tuvo que quedar en casa de mis sobrinas,
19:58porque el médico dijo que estuviese vigilada, por si perdía el conocimiento.
20:02Es que los golpes en la cabeza son muy traicioneros.
20:05Menos mal que estaba usted allí.
20:07Insiste usted en darme protagonismo cuando no he hecho nada reseñable.
20:11Pero sí se portó usted como un héroe.
20:13Fíjese, todos los empleados lo han dicho.
20:15Bueno, pues nada, habrá que dejarse querer un poco.
20:18Hace usted muy bien, don Fermín.
20:20Gracias.
20:29¿Tú has oído lo que le estaba diciendo doña Lázara, don Fermín?
20:32Aquí el que no corre, vuela.
20:41Ay, qué cansancias tengo en el cuerpo.
20:44Dile la verdad, ¿que Clarita te ha dado mucha guerra o qué?
20:47No, ¿en qué va?
20:48Ay, en fin, es una niña y se mueve mucho, pero no, he descansado muy bien.
20:53Y estoy muy contenta de que esté con nosotras.
20:56Mire, me ha dado Pietro esto para usted.
20:59Como él está en el operador, me ha dicho que se lo dé yo.
21:03¿De qué es?
21:05Pues no lo sé, dicen que es una nueva receta.
21:08Quería que usted fuera la primera en probarlo.
21:12¿Está bueno?
21:14Está delicioso, sí.
21:16Se nota que lo ha hecho con mucho amor.
21:22¿Qué pasa?
21:24A ver, Antonia.
21:26Sé que no sé mucho de la vida y que no me tengo que meter donde no me llaman,
21:30pero si me permite decirle una cosa.
21:32Si me lo dices así, claro, te lo permito.
21:35Creo que Pietro está sufriendo mucho con esta situación.
21:38Ay, pobre Pietro, dos mujeres detrás de él.
21:41Prefiero un Karen.
21:43Ya, ya, Antonia, sé que usted lo está pasando peor, pero...
21:45Como soy una mujer y estoy acostumbrada a aguantar, ¿no?
21:48Porque eso es lo que nos enseñan desde niñas.
21:50Aguantar como mulas de carga.
21:52Mire, yo lo único que le pido es que no riña usted más con Lucía.
21:55Bueno, yo no tengo ninguna intención.
21:57Así que no te preocupes.
21:59Ahora, que no me busque, porque me va a encontrar.
22:04Una cosa, esto no habrá sido Pietro el que te ha dicho que vengas aquí a hablar conmigo, ¿no?
22:08No, no, no. Yo esto se lo digo a usted de corazón.
22:11Pietro no me ha dicho nada.
22:12Bueno, pues tú quédate tranquila, porque yo no tengo ninguna intención de enfadarme con esa señora.
22:17Porque otra cosa no, voy a saber estar, tengo de sobra.
22:20Otra cosa es que esa mujer saque los pies del tieto.
22:25Antonia, si los saca...
22:27Habrá que volvérselos a meter.
22:29Antonia...
22:30No, Antonia, nada, cariño, tú tienes muy buen corazón y eso no se paga con dinero.
22:33Pero dime, si esa mujer quiere quitarme a Pietro, ¿qué quieres que haga?
22:36¿Me enfrento a ella o me quedo como una tonta y la dejo hacer?
22:38No, quieta como una tonta y se deja hacer, no.
22:41Pero yo lo único que le digo es que preferiría que hubiera paz.
22:44No, eso lo queremos las dos.
22:46Así que no te preocupes, cómete de uno de esos que están muy buenos.
23:06Vaya horas, madre.
23:08Ya, pensaba que me iba a castigar sin desayuno.
23:11Como cuando era pequeña y me castigaba sin cena cuando me portaba mal.
23:15Pues mira, no se me había ocurrido.
23:17Pero no es mala idea.
23:19Porque vamos, la forma en que me hablaste ayer...
23:22¿Qué esperaba?
23:24Ya no me puede tratar como a una niña.
23:26Y tú tampoco deberías comportarte como una niña.
23:29No se crea, muchas veces es práctico comportarse como una niña.
23:32¿De qué hablas?
23:35Cosas mías.
23:38¿A dónde fuiste?
23:41Carla, no te hagan la sorda.
23:43¿A dónde fuiste?
23:45¿Qué más da, madre?
23:47Si nadie me vio.
23:49O bueno, sí que me vieron, pero nadie me reconoció, que es lo importante.
23:53¿Y cómo puedes estar tan segura?
23:56Porque soy muy meticulosa.
23:58Y además no tengo ningún tipo de interés en acabar en la cárcel.
24:01¿No irías a casa de Matilde?
24:03No.
24:05He asumido que ese ya no sirve para nada.
24:08Ni siquiera con la ayuda de un psiquiatra hemos conseguido encerrarla.
24:11Me rindo.
24:13Me alegra oír eso.
24:15Pero me quedaría más tranquila si dejaras de salir por las noches.
24:18Ni siquiera me va a dejar salir a tomar el aire.
24:21Tan solo tenía una ilusión en la vida.
24:24Y era ver encerrada a Matilde.
24:26Y he tenido que renunciar a ella por su culpa.
24:28Bien sabe Dios que intenté ayudarte.
24:30Claro, lo intentó.
24:32Y la intención es lo que cuenta, ¿no?
24:34En estos momentos Matilde ha de estar retozando en las sábanas con Íñigo
24:38mientras yo me pudro en este agujero.
24:41Si te estás pudriendo en este agujero es porque tú te has empeñado en ello.
24:45Hace tiempo que podrás estar viviendo libremente en América.
24:48¡Ay, déjeme en paz, por favor!
24:50Hija, no te das cuenta de que todo lo hago por ti.
24:53Qué aburrimiento.
24:55Una mujer libre con dinero.
24:57En un lugar donde hay tantas posibilidades como América.
25:00Allí serías feliz.
25:01Confía en mi, hija.
25:07Me voy.
25:32Ya que no tengo mucho tiempo...
25:34¿Qué va a ser un momento, mujer?
25:36Así aprovechando que no está Miguel...
25:38Deja la puerta abierta.
25:40Vamos a estar los dos solos, ¿no?
25:42Dejo la puerta abierta. Faltaría más.
25:44Pero no te pienses nada raro, que...
25:46es que solo te quiero dar un regalo.
25:48¿Un regalo?
25:50Pero si no es mi cumpleaños.
25:52No, no, no.
25:54No, no, no.
25:56No, no, no.
25:58No, no, no.
25:59But if it's not my birthday...
26:01There's no need to do.
26:03Here.
26:05I wanted to wrap it in wrapping paper,
26:07but I saw you passing by and I said,
26:09is it now or never?
26:11Where did you get a snail from?
26:13Do you like it?
26:15It's just that as you told me you had only seen the sea in photographs,
26:18I thought, well, I can listen to it whenever I want.
26:22It's a very beautiful detail, Salvita.
26:25What's up?
26:26What I'd really like to do is take you to the sea, but that's very difficult.
26:32Maybe one day...
26:34In the meantime, you can think if you want to go to the Mediterranean, the Cantabrian or directly to the Atlantic.
26:41I didn't know you were so detail-oriented.
26:44Me? No way.
26:46I'm a disaster with gifts, but this time you've made it easy for me.
26:51So, when are we going to study again?
26:54Whenever you want.
26:56I have the afternoon off.
26:58I was just going to spend the afternoon studying.
27:00Then don't talk to me anymore.
27:02The only thing is that some friends are staying at my house and we weren't going to have a place.
27:07It'll have to be somewhere else.
27:09I'll go wherever you tell me.
27:11And if you can't this afternoon...
27:13No, no, no. You come to Corrala like the other day and we'll find a place to stay.
27:17I just finished work and I'm going straight to Corrala.
27:19Great.
27:21So, two friends are staying at your house?
27:23Yes, two sisters.
27:25We're a bit tight, but it's okay.
27:27Sure, because your house isn't that big.
27:29No, it's not.
27:31We only have two rooms and we're having to share a bed.
27:36Share a bed? That's uncomfortable.
27:38Well, Alvita, when you've had to sleep on the street, half a bed is more than enough, I assure you.
27:44Sleep on the street? She's exaggerating.
27:46No, no, I'm not exaggerating.
27:48I had to sleep on the street.
27:50You wanted to know about my past? Well, there you have it.
27:56Hi. Hi.
27:58How can I help you?
28:00Yes, I was looking for the Iberian correspondent.
28:02Well, I'm leaving now.
28:04Goodbye. See you later.
28:06See you later.
28:14How's Celia?
28:15Well, she's better.
28:17I'll go see her when it's time to eat.
28:19She has to rest a few days in bed, but she's getting better.
28:22Well, I hope she gets better.
28:24Thank you. See you later.
28:26See you later.
28:34Come in.
28:39Good morning, Don Fermín.
28:41Good morning. Am I interrupting?
28:43No, no, not at all.
28:45Come in, Íñigo.
28:47Did you want to talk to Matilde?
28:49No, no, I didn't want to talk to her.
28:51I wanted to discuss with you if you have a minute
28:54about the sale of the galleries in the gallery.
28:56Naturally. Sit down, sit down, please.
28:58Would you like me to buy you a coffee?
29:00No, thank you, but no.
29:05Well, what news do we have?
29:09Yesterday I went to talk to Don Fabio del Moral
29:11and I transmitted to him the intention of the merchants
29:14to make him an offer to buy from the galleries,
29:17including you in the operation, obviously.
29:20And he was very receptive,
29:24but he has to consult with Mrs. Bárbara.
29:28Wow, so we're in the hands of the heir.
29:31Well, may God ask us to be confessed.
29:34Do you think we should talk to Mr. del Moral
29:38and talk directly to Mrs. Bárbara?
29:41I don't think it would be convenient,
29:44and I wouldn't be the right person.
29:46So what do we do? Wait and that's it?
29:49I'm afraid the only thing we can do is wait and trust.
29:55Something happens and you don't look so happy.
30:00That's very pessimistic, Mr. Fermin.
30:05You see, Matilde and I are not having a good time.
30:11In our marriage.
30:13Well, I'm sorry to hear that.
30:15If there's anything I can do...
30:17No, I'm very grateful to you,
30:19but I think the only thing I can do right now is wait.
30:24Matilde has left.
30:28From home.
30:30You see, when Dr. Mendoza recommended me to enter Matilde,
30:35I saw it with good eyes and even tried to convince her to do it.
30:41And for Matilde, that was an unforgivable betrayal,
30:45and the truth is that she has no reason for it.
30:47Let me tell you, Inigo, that I don't see any betrayal.
30:50You haven't done anything to justify something as serious as a leave of absence.
30:54You followed the doctor's orders,
30:56and if the doctor decides that it is best to amputate a leg to save a patient...
31:00I'm sorry, Fermin, but it's not the same.
31:02Matilde's life is not at risk here.
31:04We are talking about her mental faculties.
31:06And later it was seen that Mendoza was a swindler and managed to deceive me.
31:14Mr. Pellanolver, I have to apologize to you,
31:17because I was the one who put you in contact with Dr. Mendoza,
31:20but I assure you that he had the best references.
31:22I assure you.
31:26And what are you going to do?
31:28Are you going to force her to return?
31:30No, no.
31:31No.
31:34If she comes back, I want it to be by her own will.
31:39And I have to win that.
31:41Right now I don't know how to do it, but I'm going to try.
31:46My life without Matilde doesn't make sense.
31:55So Celia is staying at your house for now?
31:57Yes, until she is fully recovered, it is better that she is not alone.
32:03You are very lucky to have her as a partner.
32:06I don't know if she thinks the same.
32:09You know what she told me before the accident?
32:12That she wanted to go on tour with Estrellita Castro.
32:15She offered me to be her photographer in Germany.
32:18But how is she going to go to Germany, having to take care of a business in Madrid?
32:22I said the same thing, but it seems that she is clear about it.
32:24I don't know, I'd rather not talk about it because I don't understand you.
32:28Of course, of course.
32:30Anyway, I don't think the doctor will let her go on a trip after the accident.
32:34We'll see.
32:36By the way, speaking of doctors, don't tell your sister anything.
32:41But I have been in contact with Mrs. Juanes.
32:45But wasn't she in Paris?
32:48Yes, yes, she is, she is.
32:49But I'm looking for a way to continue the distance treatment.
32:55Good.
32:57But how would that be? By phone, by letter?
33:00Because I imagine that a conference with Paris is impossible.
33:03In this life, Miss Laura, there is nothing impossible if you are determined enough.
33:10And I am determined that your sister will be the protagonist of the court of Pharaoh.
33:14And as my name is Agustín Comas, I will get it.
33:19I wish, because I would make her the happiest woman in the world.
33:26You could go and look around the big warehouses.
33:29Is this man one of those who buy?
33:32I don't know, I don't say it for that.
33:34I say it because I'm dying to give him a kiss.
33:37If necessary, I kick him out.
33:41Hello, can I help you with something?
33:44Ah, well ...
33:47Hello, I'm leaving. I'll see you later when I close.
33:51Of course.
33:53If you want, I can show you the records. We have some news.
33:59Well, I hope Matilde is right.
34:02And you don't have to take measures.
34:05Thank you for listening to me, Mr. Fermin.
34:08And forgive me for the trust I have taken.
34:10For God's sake, yes, there would be more.
34:15Yes?
34:19Hello.
34:21Mr. Del Moral, what a surprise.
34:23You too.
34:25Better, so I save a trip.
34:27I bring an answer from Mrs. Bárbara.
34:29Ah, well, sit down, please.
34:31No, no, no, thank you very much.
34:33I arrived late for an appointment.
34:35I just wanted to give you the news in person, better than by phone.
34:38I'm afraid it's not what you expected to hear.
34:41Mrs. Bárbara has rejected your purchase offer.
34:44But...
34:46We haven't made an offer to her yet.
34:49I know. I've tried to convince her to wait to have a figure on the table, but it's a mess.
34:54Well, what a way to do business, if you allow me to put it that way.
34:58I guarantee that if I could convince her to at least sit down and negotiate, I would.
35:03But she doesn't want to deal with that matter.
35:06I'm sorry, Mrs. Bárbara has the character she has.
35:09Well, we thank you very much for coming in person to tell us.
35:14No, it's the least I can do. Believe me, I'm sorry.
35:18Anyway, thank you for coming, Don Fabio.
35:20No, thank you.
35:22Good morning.
35:23Good morning.
35:29You see, misfortunes never come alone.
35:39Goodbye.
35:55Cañete.
36:00Look, there's something I wanted to tell you.
36:02I wanted to tell you...
36:05Maybe it's a little weird, but...
36:07Would you mind going to talk to Maria Cristina?
36:11Maria Cristina?
36:13Ah, the ex-partner of Mrs. Lázaro in the warehouses?
36:16That's her.
36:17Why me?
36:19Well, look, she doesn't want to talk to me. She's giving me a hard time.
36:22And I thought maybe you could help me.
36:25But... I don't know her at all.
36:28Well, precisely because of that.
36:29That way she won't be on the defensive.
36:32Well, of course you don't tell her that you're on my side.
36:35Let's see, let's see, Teresa.
36:38I can't show up at a woman's house and make a mistake.
36:42And stick the needle to get the information.
36:44I'm not a spy, damn it.
36:47Well, you're not a spy, but you have a lot of personal charm.
36:52Are you asking me to make the cut?
36:54No, no, no, no.
36:56But hey, if it comes up, everything helps.
37:00Look, Teresa.
37:02It's better to leave things as they are.
37:05Because...
37:07You don't have to change the organization of things
37:10when a conflict arises.
37:13Yeah, but the conflict, Cañete, has already arisen.
37:16Haven't you seen how Mrs. Lázaro was intimate with Mr. Fermin before?
37:21Yes, yes, I've seen it.
37:23And the truth is that I don't like it at all.
37:25But if what you're saying is true, Maria Cristina,
37:27Mrs. Lázaro took someone ahead.
37:30I don't want to have anything to do with it.
37:32You're afraid, aren't you?
37:34I understand, but...
37:36Well, look, I'm a little afraid, yes.
37:39I'm not going to lie to you.
37:41Well, you know what scares me the most?
37:43That Mrs. Lázaro takes control of La Moderna.
37:45Well, we'll talk about that at another time, because...
37:49Now...
37:51No, no, no, not at another time, Cañete.
37:53What you have to do, you can wait.
37:55But what about Mrs. Lázaro, wait in Torrio.
37:57Are you talking about me, Teresa?
38:03Are you talking about me?
38:05Yes.
38:07Yes, we were talking about you.
38:18What are you doing?
38:20Do you see Elias coming?
38:22Elias, Elias?
38:24Let's see.
38:25How do you want me to see him coming if I don't show up, mantecón?
38:32I think he hasn't seen me, thank goodness.
38:34I've been all day trying to avoid him.
38:37He's a pain in the ass.
38:39Because of the wedding?
38:41No, that was before. Now he's hooked on my mother-in-law.
38:43Don't bother me.
38:45I'm telling you, he's drooling looking at her.
38:47And for me, it's as if they're running away together to Paris.
38:49The problem is that my mother-in-law is a whore.
38:51When she opens her mouth, she pokes her guts out.
38:53I leave her with Elias for ten minutes
38:55and she tells him about the wedding, the pregnancy,
38:57my size of underwear...
38:59Well, yes, because men can't be more of a whore.
39:01Well, today he's been asking me what I think of the wedding.
39:03Really?
39:05Yes, yes, he tells me it's ugly,
39:07he'll go to the house where Christ lost the paraglider
39:09and me, yes, yes, yes, that it's very ugly
39:11and he'll come to complain that he wanted to go to the wedding,
39:13that he wanted to be the godfather.
39:15Anyway, my coffee is bitter.
39:17But you haven't told him anything compelling.
39:19No, no, no, I haven't told him anything.
39:21I was listening to him and I was giving him the reason like the doctors.
39:23I paid him and he gave it to me.
39:25Very good.
39:27Good afternoon.
39:29Good afternoon, Agustín.
39:31Is Don Salvador here?
39:33Well, no, Don Salvador isn't here.
39:35I was looking for him.
39:37The owner of the gallery doesn't want to sell.
39:39They refuse roundly.
39:45I read in the press
39:47that there won't be any more demonstrations
39:49and I thought it was unnecessary
39:51to keep a waiter on the terrace all the time.
39:53Yes, we wanted to propose
39:55to take away the security measures
39:57and have more staff in the gallery.
40:00If you think it's good, of course.
40:03Are we sure there won't be any more demonstrations?
40:06These are government statements
40:08in the Iberian correspondence.
40:11All right.
40:13Anyway, next time you'll talk to me.
40:16Don't be scheming between yourselves.
40:19As you wish.
40:24I tried to warn you, but you wouldn't listen.
40:27Thank you anyway.
40:29No, don't thank me.
40:31And listen to me.
40:33Leave things as they are, Teresa.
40:35This woman has eyes and ears everywhere.
40:37Look, Cañete.
40:39I'll try to be careful.
40:41But with everything we know about her
40:43and the ways she points out,
40:45don't be surprised, as I said before,
40:47that she takes control of the entire gallery.
40:49And what about us, Teresa?
40:51That's Don Fermín's problem.
40:53He's the one with the most nerve.
40:55Look, Cañete, do whatever you want,
40:57but I'll go on.
40:59If you go on, I'll go on with you.
41:01I've told you many times, and I'll say it again.
41:03I won't leave you alone.
41:05Are you sure?
41:07I'm sure.
41:12I think she wants to get to the bottom of it
41:14and mess with the entire gallery.
41:16As if she saw it.
41:18Then we'll have to close the store.
41:20I'm afraid there's no other way.
41:21I'm going through the copy
41:23of my lease contract
41:25and there's a clause.
41:27It's underlined. Read it.
41:29In case the leaser wants to sell the property
41:32mentioned in the present contract to a third party,
41:34it is stated that the leaser
41:36will have priority when acquiring this one.
41:38As of now,
41:40this business agreement entails
41:42that the leaser will have the right
41:44to review and retract
41:46the business he has leased
41:48with the property of that place.
41:49What does that mean?
41:51That they have priority to buy the place
41:53with the same conditions as the rest of the buyers.
41:55Well, at least I have it.
41:57That's why I wanted to talk to your father.
41:59I want to make sure
42:01that the rest of the businessmen have the same contract.
42:03Do you have a pen and paper?
42:05Yes, of course.
42:07I want to write to your father about what's going on.
42:10Can I give it to him this afternoon
42:12when I see him at home?
42:14I don't want to offend you, Salvita,
42:16but your father has told me
42:17to deal directly with Miguel.
42:19I'm sorry.
42:21No, don't be offended.
42:23I know my father doesn't trust me.
42:32Here you go.
42:34I'll give it to him. Thank you.
42:36A deal?
42:38No, thanks to both of you.
42:40To you.
42:53Thank you very much, Inés.
42:55Is this the one you took before?
42:57The one with the gargoyles?
42:59No, this is chamomile.
43:01I make the gargoyles with oregano infusion.
43:03By the way, it tastes awful.
43:05Oregano?
43:07Yes.
43:09Is it for the vocal cords?
43:11How are you doing with that?
43:13Well, little by little.
43:15Inés, you've been through a lot.
43:18Well, you're the worst.
43:20Those beasts almost run over you.
43:22Good thing Agustín is here.
43:25And your uncle, right?
43:27Yes, but Agustín took the medal.
43:30Have you seen how he looked at my sister?
43:33As if he were a walking knight.
43:36Are you okay?
43:38No.
43:40What's wrong? Does your head hurt?
43:42A little.
43:44I'll be right back.
43:54Marta!
43:56Hi, Inés.
43:58Am I coming at the wrong time?
44:00No, come in.
44:02I just left La Moderna and I wanted to see how you were doing.
44:05Good.
44:07And, by the way, I brought this from Don Fermín.
44:10I don't know if the doctors will let you.
44:12Well, they said I should rest a lot, but no sweets.
44:16Anna, sit down.
44:18I'm going to make some coffee.
44:20Thank you very much, Marta.
44:22I'm really hungry.
44:29Some more?
44:31Yes, I'll pay for these.
44:36One...
44:38and two.
44:40Anything else?
44:42Well, yes.
44:44I wanted to reiterate my admiration for your performance in the gallery yesterday.
44:48Please, Mrs. Lázaro.
44:50Let's finish with that, because in the end I'm going to believe that I'm really a hero.
44:54Well, in the government they have told me that there will be no more demonstrations,
44:58so there is no need for me to do more favors.
45:01Shall I pass it to Mr. Comas?
45:03Yes, please.
45:15Good afternoon.
45:17Come in, Agustín, and forgive me for making you wait.
45:20It's nothing.
45:22Would you like something to drink?
45:24No, I've already offered a coffee to your manager.
45:27By the way, she's a very nice woman.
45:29Yes, yes, she is.
45:31She's a very special woman.
45:33I'm very lucky to have her with me.
45:35A lot.
45:36I see.
45:38Here, at the manager's place, I mean.
45:40Sit down, please, sit down.
45:46Well, you tell me.
45:49Mrs. Bárbara refuses to sell the premises to the gallery's businessmen.
45:54Yes, yes, Mr. Fabio told me something, yes.
45:57Well, it's very bad news for you,
45:59and from the point of view of business, something completely incomprehensible.
46:01However, legally, she will have no choice but to sell them to us.
46:08Explain, please.
46:10This is a copy of the rent contract of the cinemas.
46:13Please, would you be so kind as to read the clauses I've provided you?
46:20You will have the right to survey and retract.
46:24And not just me.
46:26I've been talking to the other businessmen,
46:28and all the premises have the same clause.
46:32Mrs. Bárbara continues to insist on not selling
46:35because she assumes that what she wants is to destroy the gallery.
46:38This is impossible.
46:40In order to do so, she would also have to work with La Moderna,
46:43and I'm not going to allow it.
46:45Therefore, there is only one option left.
46:48She wants to sell, but not at any price.
46:53Mr. Fabio told me that it was not a stratagem to manipulate prices.
46:58But of course, nowadays you can't trust anyone, right?
47:03That's what I was thinking.
47:05I don't finish.
47:14Oh, it's late. I have to go.
47:17But, are you going to work?
47:20No.
47:22No.
47:24Well, I have to go home.
47:25I have to study.
47:30I have a date with a guy to study with.
47:33With Salvita.
47:35The one from the bookshop.
47:37But it's not what you think.
47:39No, we're not thinking about anything.
47:42Nothing?
47:45Well, I'm leaving now.
47:49Goodbye.
47:51Another one who falls in love with us.
47:53Just like Laurita.
47:55I'm sure she's out there flirting with Agustín.
47:58You think so?
48:00Yes, I think they were going to meet when Laurita closed the shop.
48:06By the way, you have to talk to her.
48:10Talk about what, Inés?
48:12Well, Laurita told me that you're going on a tour in Germany with Estrellita Castro.
48:16Oh, really?
48:18Why don't you talk to her and sort things out?
48:21You have a beautiful friendship and a common business.
48:23It would be a shame to lose it all because of an argument.
48:27That's what I think.
48:29But you don't know how we got together.
48:32Well, you're both very stubborn.
48:35But you love each other a lot.
48:37Don't you?
48:40Yes.
48:45If you tell her your reasons, she'll understand.
48:48Talk to her, listen to me.
48:49No, if I meet my mother, she's capable of standing up for herself.
48:53She's the most stubborn woman I know.
48:56That's why they say you can't buy what you inherit, Trini.
48:59Haha, very funny.
49:01I'd like my mother to come, but she doesn't know how to keep her mouth shut.
49:05And with how stubborn Elia is, I'm sure she'll get the best of us.
49:09You too, Trini.
49:11The wedding in the fifth hell is a good idea.
49:13Do you realize that Miguel is going to have to pretend to be a lion for the rest?
49:17Son, what do you want me to tell you?
49:19That we were desperate?
49:21Every time a family member from Miguel shows up,
49:24they come to tell him the whole story so he doesn't screw it up.
49:27He'll screw it up.
49:31Trini, a few questions.
49:33Your parents are dead, right?
49:35Luckily for you, yes.
49:37Well, woman, don't say that.
49:39Anyone who has a son or a daughter,
49:40well, Trini, what does your mother like?
49:43What does my mother like?
49:46Well, I don't know.
49:48How am I going to know what my mother likes if she's grumbling all day?
49:52Of course, I think what she likes the most is that.
49:55Grumbling.
49:57Grumbling all day.
49:59That's what my mother likes the most.
50:01I think my father...
50:03My father...
50:05Well, you don't know how he was.
50:06He took her down the road of bitterness.
50:08I think he died just to rest a little bit.
50:11And so much...
50:13It's just that my mother really has a character.
50:16No.
50:18That's how I like women.
50:20With personality.
50:22Women?
50:24You know what she also likes a lot?
50:26Leaving things in the middle.
50:28You don't know how she has the house of Fuencarral.
50:30My goodness.
50:32If the armchairs are in the middle,
50:33if the armchairs are full of pieces of old newspapers
50:36and scraps of food,
50:38and the chairs are full of clothes,
50:40clothes without ironing,
50:42if it's a disaster.
50:44Come on, that looks like the warehouse of a junkyard.
50:47Really, Trini?
50:49With what I like to pick up things?
50:51I already knew this.
50:53You already had it.
50:55Well, I'm going to ask you a favor.
50:57If he comes around here, can you let me know?
51:00No.
51:01If he comes around here, can you let me know?
51:03Of course.
51:05Yes. Well, I'm going.
51:07If you'll excuse me.
51:12Do you think it's nice to talk about your mother like this, Trini?
51:16Look at what she has done for you.
51:18Now she likes it more.
51:32What's going on?
51:34The neighbors.
51:36They see us as if we were bugs from the house of fairies.
51:39Well, let them look at it.
51:41If I had to worry about every time someone looks at me.
51:45Did you like the snail, then?
51:47A lot.
51:49Well, Esperanza has caught my attention a few times today
51:52for being with her ear stuck instead of working.
51:55Well, come on, let's see what we are.
51:58And where do you have it?
51:59In my nightdress.
52:01I like to listen to it every night and think that one day I will meet the sea.
52:06With you.
52:10Hey, you're very pretty.
52:12Well, come on, let's study.
52:15Platero and I from Juan Ramón Jiménez.
52:18Is this okay?
52:20Mucho.
52:22Do you know who was in La Moderna?
52:24The poet or the donkey?
52:26The poet, silly.
52:27Yes, his wife has a conference at the gramophone store.
52:31Do you know who is Juan Ramón Jiménez's wife?
52:34No?
52:36The girlfriend of Camprubí?
52:38No?
52:40Well, it was a very interesting talk.
52:43But how do you know so many things?
52:45You look like a university teacher.
52:47Hey, why do you miss me?
52:49I may be poor, but I have a good head.
52:52I try to use it for something more than to comb my hair.
52:54It shows, it shows.
52:55I see.
52:57What do you think?
52:59Because such a woman already only knew how to scrub, sweep and give birth, right?
53:02I haven't said that, nor do I think so.
53:04In addition, it is obvious that you are a capable, restless and very intelligent person.
53:09I see.
53:11And you an adulator.
53:13Come on, let's study.
53:15It's just that it's hard for me to concentrate with you in front of me.
53:17Hey, as if you were going in this plan, I'm not going to invite you to study.
53:20I shut up, I shut up.
53:22Help!
53:23Help, Pietro!
53:25Don't worry.
53:27What happened?
53:29They stole me, Pietro, they stole me.
53:31How did they steal you, how?
53:33How did they steal you?
53:35Poor thing.
53:45Hello.
53:47Hello.
53:49I thought you were coming later for your things.
53:51Yes, I wanted to come back before Clarita went to bed.
53:54If you want, I can help you get the suitcase down.
53:57No need.
53:59I'll take you to the taxi if you want.
54:01I was going to take a tram.
54:04Matilde, I want to talk to you.
54:07If you're going to try to convince me to stay, I'll...
54:10No, no, no, I don't want to talk to you about that.
54:13I've been thinking and you're right.
54:16You don't need reasons to leave me and...
54:18The truth is that I've gone all the way and I'd like to fix it, but it's too late.
54:24But I think you're going to have to take a taxi because...
54:27you have to take this.
54:31And me?
54:33Matilde, it's a gift for Clarita.
54:36I ordered it two weeks ago and it arrived today.
54:39It's inopportune.
54:41It's a dollhouse.
54:42It's inopportune.
54:44It's a dollhouse.
54:56It's a beautiful detail.
55:00It's just that, as you told me that Clarita had never had a dollhouse, I thought it would make her very happy.
55:05I'm very excited.
55:08But well, I understand that if you don't see it as appropriate, then...
55:12you don't accept it, of course.
55:15Of course I accept it.
55:17Clarita will love it.
55:19Good.
55:24I have to go, Guiñigo.
55:26Yes, look, I have to go back to Madrid right now, Cabaret.
55:30Stay here as long as necessary, pick up everything and...
55:34And well, I'll take Clarita's gift, I'll leave it with Sergi and...
55:38Guiñigo.
55:41I have to leave Madrid.
55:44Clarita is not well here.
55:46And I need time to think and...
55:49to heal my wounds.
55:53Where are you going to go?
55:55Jerez.
55:57I want to be with my family, I want to be with my aunt and my brother Pablo.
56:00And I know that Clarita has been very happy there.
56:04And it's the best for everyone.
56:12When you see Guiñigo, you have to thank him.
56:15Are we going to see him soon?
56:17I don't know, Clarita, I can't tell you.
56:19I'm very sorry that Gui and I are not with him anymore.
56:22Is he recovering?
56:24Oh, my, what a fright.
56:26Poor thing.
56:28The fright must have been very big.
56:31It's been a while and she's still shaking.
56:33Let's go, Piedro.
56:35Let's let her rest.
56:37Piedro, could you stay a little longer with me?
56:40The situation is not to go around with handcuffs.
56:42You will take a train to Lisbon.
56:44And from there, a boat that will take you to America.
56:46And you will be able to start a new life.
56:48With the identity you choose and in the country that pleases you.
56:51I am surprised how far he is able to go.
56:53But the future will be darker than that.
56:55You have to go out on the street to check it.
56:58Iñigo, is something wrong?
57:01No, no, no.
57:03What happens is that I have many problems.
57:05Come on, Antonia, hurry up.
57:07I'm sure Esperanza is already looking for me.
57:09I need to talk to you.
57:11How can we help you?
57:13Look, I was talking to the other businessmen in the gallery.
57:15We all agree with you that the only reason
57:17that would explain why Mrs. Bárbara has rejected the purchase offer
57:20is that she is waiting for a counteroffer from us.
57:21Well, of course, she will try to express to her tenants
57:24everything she can.
57:26Did you see anything strange in Lucía after the robbery?
57:29No.
57:31The woman was hot, crying and excited.
57:35But well, like anyone who would have scared her like that.
57:37And did she tell you everything she knows about Mrs. Lázara?
57:39I had to practically kneel down and beg.
57:42But in the end she realized that for me this was very important
57:45and I needed to know the story.
57:47So yes, she spoke.
57:49I'll let her keep working.
57:51We'll talk about it another day.
57:53Count on it.
57:55Anyway, now you will focus on the conversation with Celia.
57:57I imagine it will be about Germany, right?
57:59Since Elias and my mother have gone for a walk,
58:01I am what I am not.
58:03They haven't come back yet?
58:05No, and every second that passes is an opportunity
58:07for my mother to get on her feet and discover the cake.
58:10She already knows that in five days
58:12she has to take a train to Lisbon
58:14and from there she will take a boat that will take her to America.
58:17Very good. The sooner the better.
58:18But she is not digesting it easily.
58:20She already knows it.
58:22She is going to leave, yes or yes,
58:24even if by force.
58:26It was a detail that the son of the bookseller would give you, right?
58:28Yes, he was very attentive.
58:30Too much to be a simple friend.
58:32Maybe it's something else.
58:34Mrs. Lázara, first of all,
58:36I wanted to see you to propose something to you.
58:39It is obvious that a certain trust has arisen between us
58:43and I think it would not be wrong for us to tutor each other.
58:48Do you still remember what I like to eat?
58:51Of course I remember.
58:53I remember many things.
58:55We have a conversation pending.
58:57I wanted to apologize for everything I told you
58:59before being overwhelmed by those people.
59:02No.
59:04We both said things we shouldn't have.
59:18© BF-WATCH TV 2021