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00:00Since the first moment I saw you in Mr. Fermin's office, so beautiful and so intelligent,
00:23there has been no other person in my life.
00:26I constantly dream of kissing you and hugging you,
00:32and never letting you go from my arms. Never.
00:39I'm completely in love with you.
00:43That's why I can't be a witness to your happiness with Agustín.
00:47No, it's not that I'm not happy.
00:51It's just that my soul is breaking.
00:58Celia...
00:59Yes?
01:01I...
01:03I don't know what to say.
01:08Forgive me, Laura.
01:11I don't know if I should have done it. I'm sorry.
01:13No, no.
01:15You're my soulmate, but...
01:21I'm sorry.
01:22Laura.
01:26Laura, please.
01:44Hello. I'm glad to see you. Have a seat, please.
02:05I know you must have had breakfast, but do you want something to drink?
02:14I'm fine, thanks.
02:19Well, how's it going at Antonia's house? How's Clarita?
02:23We're fine. Clarita told me to remind you that she's still playing at the doll house you gave her.
02:29Do you mind if we go to the store?
02:32I don't know if you're up to date, but the fertilizer business is on the rise.
02:37And I'm about to close a deal with the distributors so they can celebrate another convention here, in La Moderna.
02:46Are you listening to me?
02:48Attentively.
02:51But I don't know what I have to do with the fertilizer business.
02:56What do you think? Would you be interested in taking care of the fertilizer business?
03:02The fertilizer business, of course.
03:05I'm sorry, I don't know what you're thinking. Yes, of course I'm interested.
03:11And as we agreed, we'd be a team.
03:18I've prepared a budget based on the drug dealers' convention.
03:23I need you to review the Madrid-Cabaret part to deliver it.
03:27And could you do it today? I'm in a bit of a hurry.
03:34If you want to suggest a change, now's the time.
03:39Well, yes, there are some changes I want to make. For example, in this first point.
03:45Not having realized the damage I've done to you.
03:48Then there's another second point I'd like to change...
03:50No, please. I didn't come here to talk about us.
03:53Yes, I did.
03:55Because you can't treat me like a simple client you're negotiating a budget with.
03:59Why not? That's what you are now.
04:02And that's why we've met. So please, review this document and we'll finish as soon as possible.
04:06Matilde, I can't forget you. I'm trying, but I can't.
04:11Do you know how much I've suffered? And how lonely you've made me feel?
04:15I'll do everything necessary for you to forgive me, for you to trust me again and hear me.
04:20That's the problem.
04:23I don't know if I can trust you again. Honestly, I don't know.
04:31Tell me if you agree with the budget.
04:35Of course I do.
04:40I'll let you know when it's all closed.
04:54Mine, mine. Mine, mine. Yours, yours. Yours, yours.
04:59Excuse me, Marta. Are you asking me something?
05:01Ah, no, no, no. It's just that, well, I have possessive pronouns and now that I've had them for a while, I wanted to take the opportunity to learn them.
05:07But if I bother you, I'll leave.
05:09No, quite the opposite. I'm glad you're keeping me company.
05:14And I'm also glad to see you so motivated and so disciplined with the studio.
05:19I'm sure you're going to get very far.
05:23Hi.
05:24What?
05:25Do you know the pronouns? Should I ask you now?
05:27Well, wait a minute, Antonia, I want to make sure.
05:32Piedro, I was thinking if you wanted to take a walk around the Retiro later.
05:38If I remember correctly, we can finish the shift at the same time.
05:42We could feed the squirrels.
05:44I'd love to.
05:45We could feed the squirrels.
05:47I'd love to.
05:49We have a bag of pine nuts.
05:51Very good.
05:53So, do we have an appointment?
05:55Yes, yes, I think so.
05:58Good.
06:01I'm going.
06:04That's how I like it, Antonia. You take everything by the horns.
06:08You're smarter than the Retiro squirrels.
06:11Well, I don't know if I'll be ready, Marta, but I'm not going to stay with my arms crossed.
06:16I want to remind that woman that Piedro is my future husband.
06:19That's why I showed up at her house yesterday.
06:21To make it very clear.
06:26At 12 o'clock we have a writing session.
06:28It will be about eight or ten people.
06:31And in the afternoon we have two birthdays in a row.
06:34This is important, Cañete.
06:36You can't overlap one with the other.
06:39Until one doesn't finish...
06:40The other doesn't start. I think I understand, ma'am.
06:43That's it.
06:44Anyway, you talk to Teresa and get organized.
06:47I'm not going to be there this afternoon.
06:49So I don't want anything to go wrong.
06:51You're not going to be there?
06:52No. Why?
06:54Because I've never seen you miss a working day.
06:57Much less when we have this kind of event.
07:00I hope it's nothing serious and you'll allow me to be indiscreet.
07:03I won't allow it.
07:05But no, it's nothing serious.
07:12Did you find out anything?
07:14Yes.
07:16The watchman confirmed that an addict fell into the cauldron.
07:20That's it.
07:21But Teresa, according to the investigation that took place right after,
07:25they took it as an accident.
07:26The result of bad luck.
07:28But you asked if she knew Mrs. Lázara
07:30and if she thinks she was involved in the accident.
07:34Yes, I did know her.
07:36But at all times, she insisted on exhuming her at all costs.
07:42Well, Maria Cristina, the dependent I asked her,
07:45didn't tell me the same thing.
07:46Rather the opposite.
07:47Yes, but I don't think that woman's testimony has much value.
07:51Why wouldn't it have value?
07:53Because since Mrs. Lázara fired her, she has sworn it.
07:57That's what the watchman told me.
07:59And anyone would take that accusation as revenge.
08:03Teresa.
08:05We have to be very cautious with all this information.
08:08And above all, don't rush.
08:11Well, let's see.
08:12That Mrs. Lázara fired her doesn't mean that Mrs. Lázara is not involved.
08:16That's the first thing.
08:17That's true, but for Mrs. Lázara it would be very easy to defend herself.
08:21The watchman heard how she threatened her.
08:23He would have her as a witness.
08:25What I mean, Teresa,
08:27is that if we want to relate her to this alleged accident,
08:30we need more concrete evidence
08:32than the testimony of a despised watchman.
08:35Which, by the way, is just what they can think of us.
08:39Well, let's see.
08:41Mrs. Lázara was responsible when the accident occurred
08:45and the watchman fell into the cauldron.
08:47Yes or no?
08:48Yes. And?
08:49Well, one way or another, she is involved.
08:53And I plan to get to the end.
08:57As you wish.
09:09Can I come in, Trini? Are you alone?
09:12Yes, well, I was, until now.
09:14But what are you doing here? As the vampire sees you ...
09:16Let's see, I wouldn't dare to come in if I didn't have something very important to tell you.
09:20Let's see, since I can't wait, I'll catch you here and I'll kill you here.
09:23Which is a matter that interests both you and me.
09:26Well, I don't know what you and I have in common.
09:29More or less interests.
09:31Unless it's about my mother.
09:33Yes, yes.
09:34And well, and the date we had yesterday, which was wonderful.
09:38Let's see, what date or what date?
09:40As far as I know, you accompanied her for a walk to the center.
09:43And that's not a date.
09:44Watch out, huh? Wait.
09:46A walk on my arm, and specifically this one, huh?
09:50Ah, I can still feel the decay of the touch of her hand, Trini.
09:56Well, let's see, the first thing we did was go to eat some good entresijos on Calle Carretas, which is where you have to do it.
10:01Then we went down to Puerta del Sol and we took a boat.
10:04And then we went to Las Vistillas to see the sunset.
10:08Let's see, if that's not a date ...
10:10Rather, if that's not a romantic date, where is it?
10:13Let's see.
10:15I forbid you, terminally, that in the same sentence you say, romantic date and my mother.
10:21Understood?
10:22Yes, yes, yes.
10:23All I want is to get along with you and get your approval.
10:26Trini, as a future stepfather ...
10:28As a future stepfather.
10:29This is also forbidden.
10:31Let's see, Trini, what a mania, huh?
10:33You can't forbid it as if it were the Inquisition.
10:35I have the right to be happy.
10:37And Leonora, well, your mother too.
10:39Let's see, you're not the only one who's in love here.
10:42The word in love is also forbidden, okay?
10:46Yes, yes.
10:48Yeah, but love is blind, Trini, and you don't understand about age.
10:52If not, look at Antonio and Pietro.
10:55Someone is coming to see you as if you were a vampire.
10:57I swear we're going to have a good time.
10:59Come on, let's go.
11:00Out of here.
11:03Let's see, Trini, with so much prohibition, I forgot what I came to say.
11:07As a sign of my good intentions, I just want to ask you if I can get to know you better.
11:13Denial request.
11:14Oh, so that's what we're dealing with, right?
11:16Well, let me tell you something.
11:17If there is something in life that cannot be stopped, it is true love.
11:21So go looking for a hole in the family, my daughter.
11:24Shut up and get out of here, please.
11:26Get out.
11:27Out.
11:35What were you doing here, Elía?
11:36Well, I wanted to ask about ...
11:39Well, it doesn't matter.
11:40I'm sure it was silly and that's why you don't remember.
11:43I understand it perfectly.
11:45Well, what a laugh there with your mother.
11:48I'm glad of the day.
11:49What a funny woman.
11:50Oh, yes.
11:51And what a coincidence.
11:52It was a non-stop.
11:54Yes.
11:55Well, you don't have to take it very seriously, but is there any coincidence that ...
11:58well, that ...
12:00you have to tell me?
12:14Yes.
12:26Don Fabio.
12:27I didn't want to bother you.
12:28I'm Agustín Comas.
12:30I have rented the movie theater here in the gallery.
12:33I was wondering if you would have a moment to see me.
12:37Yes, of course.
12:38I know who you are.
12:40And certainly, being so close, it is unforgivable that we have not greeted before.
12:46Sit down.
12:47Sit down and tell me, how can I help you?
12:50Vera, I will try to be brief so as not to steal a lot of time.
12:56I signed my first contract with Mr. Jaime Morcuende.
13:00I signed the second with his widow, Mrs. Carla, may she rest in peace.
13:03And in her favor I have to say that I kept the initial conditions.
13:07The point is that, in the face of the rumor of the sale of the gallery,
13:13I am concerned that my contract ends up in the hands of third parties
13:17and that, therefore, the lease is threatened.
13:20I understand perfectly, Mr. Comas.
13:24But I assure you that the contracts will be respected as they were signed in their origin.
13:29We have insisted on that aspect in front of possible buyers.
13:33You can't imagine the joy that gives me that.
13:37I suppose you will be aware that Mrs. Bárbara, your representative,
13:42has rejected our purchase offer.
13:47Just for now.
13:48Just for now.
13:51Are you trying to tell me that your decision can change?
13:55I beg you to take that information with all the prudence in the world.
14:00I will. I will.
14:02But for your own good, I hope that Mrs. Bárbara changes her mind.
14:06Otherwise, the businessmen will be forced to resort to our right to review and retract.
14:11I am aware of that legal issue. Do not worry.
14:14I am very glad.
14:16Because, Mr. Fabio, for us this is not just a legal issue.
14:21It is also a matter of justice.
14:24Or don't you think that selling the premises to the current tenants would be the fairest thing?
14:29At least, considering the time we have used in our business.
14:34Can you imagine what it would be like for us to have to move to another place and start from scratch?
14:41Not to mention the displeasure that would be for the clients.
14:45It cannot be explained better.
14:47But as you know, I only represent Mrs. Bárbara's interests.
14:51I am not qualified to negotiate.
14:53Only to listen.
14:55I understand.
14:57And I must say that you listen very well.
15:02I won't bother you anymore. It has been a real pleasure to meet you.
15:05You have exceeded my expectations.
15:08Don't overestimate me.
15:09Remember that I am only the messenger.
15:13Anyway, you know where to find me.
15:16Thank you very much.
15:27And when he told us that he dropped the trash in Camisón without a key.
15:33And the other time he also happened to stay on the terrace locked up.
15:37In Camisón too.
15:38That woman who lives in Camisón all day.
15:40And the firemen.
15:42The firemen.
15:45What a woman.
15:46What a very funny woman.
15:47And what a mother's luck, right?
15:49Instead of displeasure, she gives you joy.
15:51Although, in this case, you can't say such a thing.
15:55Because you are not very funny.
15:57Well, I tell you from affection.
15:59And I also tell you from affection that maybe you don't know her as I know her.
16:02And by the way, I am very funny.
16:04Oh, won't you be jealous of your mother?
16:06Yes, jealous of my mother. Yes, I hope so.
16:08Well, and now the mess that got into his head.
16:11With the wedding.
16:13It's true.
16:14Well, it shows that Miguel is very fond of her.
16:16Yes, yes.
16:17And that the wedding was going very well.
16:19Remember?
16:20One moment, one moment. What wedding?
16:22I was talking.
16:23That's what we ask her.
16:24Abel, Eleonora.
16:25That, well, she is talking.
16:27If Trini and Miguel have not yet married.
16:29Oh, really.
16:31Are you okay, honey?
16:33You seem dizzy.
16:34Yes.
16:35Have you had breakfast?
16:36Yes, yes.
16:37Sit down.
16:40No.
16:41Continue, Esperanza, please.
16:43Enlighten me.
16:44Tell me.
16:45Did she say anything else about that wedding that has never happened?
16:48Let's see.
16:49It is that with the desperation she has to marry you.
16:51Well, in her head she had already imagined a lot of times your wedding.
16:55Come on, with all the luxury of detail.
16:57The church, the appetizers, the anecdotes.
17:02What anecdotes?
17:03Well, I don't know.
17:04The ones that she invented in her head.
17:06Ah.
17:07But she told them as a joke.
17:08A joke that is that you died of laughter.
17:10Very funny, you know.
17:11It is that I think that since she lived it so intensely.
17:14Yes, yes.
17:15She sometimes forgot that it was happening in her head.
17:18And she thought she had really married you.
17:20Ah, really.
17:21That, that.
17:22What a joke.
17:23What a joke.
17:24Ah, well, the priest.
17:25Ay.
17:26Ay.
17:27The priest, well.
17:28Ay.
17:29Ay.
17:30Ay.
17:31Ay.
17:32Ay.
17:33The priest, who was dripping with sweating.
17:34Oh, I'm going to the cracks of life.
17:35For the memory.
17:36Ah.
17:39What a joke.
17:41Yes.
17:50Don't tell me. You've outdone me with the attire.
17:52Quite the opposite, Mrs. Lázara.
17:54What I'm afraid of is not being up to your elegance.
17:57Oh, no.
17:59By the way, I think we had agreed to be tutored.
18:04Yes, but in private.
18:06There are too many people here who can hear us.
18:08That's true.
18:09Would you like to go for a walk one day?
18:11It seems that there are no disturbances in the streets,
18:13even though there are a lot of people here.
18:15No.
18:16Would you like to go for a walk one day?
18:18It seems that there are no disturbances in the streets,
18:20even though there are a lot of people here.
18:24Well, well, well.
18:25Are they leaving?
18:26Yes.
18:27Well, I hope they enjoy the show
18:29and that they don't get confused with the actors
18:31because they are spectacular.
18:33That's very kind of you.
18:35By the way, your uncle has already told me
18:37that he is going to attend a conference of Mrs. Agones.
18:39Yes, yes. Agustín has located her in Paris.
18:41She must be very happy
18:43that a specialist of that renown is looking at you.
18:46That means that he values you as an artist.
18:48Do you really think so?
18:50Of course.
18:51Come on, I don't doubt it.
18:52And you shouldn't doubt it either.
18:55Well, I'm leaving.
18:56Goodbye.
18:57Goodbye.
19:00We'd better get going.
19:01I don't want them to take the carpet from us.
19:03Of course.
19:04By the way.
19:05Yes.
19:06Don't think I didn't notice
19:08what you're doing to my niece.
19:11What do you mean?
19:12I'm very happy to see her so humble.
19:17Well.
19:19Shall we go?
19:20Of course.
19:34Laurita.
19:35I didn't tell you,
19:36but Agustín has located Mrs. Agones in Paris.
19:40What?
19:41My speech therapist.
19:43Don't you remember?
19:44She wants to talk to me through a conference
19:47and I said yes.
19:50Don't you say it with a lot of enthusiasm?
19:53No, because Agustín is taking it very seriously
19:56and he wants to delay the production
19:58until I fully recover.
20:00Well, that's a proof of trust.
20:03Instead of complaining,
20:04you should be happy that I trust you.
20:08Laurita, what's wrong?
20:10I know you and I know something's wrong.
20:13Tell me, come on.
20:20There's someone who's suffering
20:23and I can't do anything.
20:28Agustín told you no?
20:32What?
20:33No, no.
20:34Then who?
20:36Who's suffering because of you?
20:38Why?
20:40The person who's suffering is Celia.
20:44Because she's in love with someone who doesn't belong to her.
20:49But who is Celia in love with?
20:51Agustín?
20:52What? No.
20:54No.
20:55Then I don't know who.
20:57I know him.
20:58He's a model waiter.
20:59No, Inés, no.
21:00Celia is in love with me.
21:02With me.
21:03And before you ask me how I know,
21:05she told me herself.
21:08But...
21:10But just like that?
21:12We were arguing
21:14about her wanting to go to Berlin with Estrellita Castro
21:19and I didn't understand that she would leave me here alone with the store.
21:24I insisted.
21:26And she kissed me.
21:29She kissed you?
21:31Yes.
21:32And she told me she was in love with me,
21:35but she didn't dare to tell me.
21:40And what did you tell her?
21:43What could I tell her?
21:45I don't know.
21:46I didn't know what to do and I ran away.
21:50I see.
21:52And do you think she was having feelings for you?
21:56I don't know, Inés.
21:58I don't know.
22:03I have to go.
22:05See you later.
22:09Bye, Celia.
22:18Celia, I have to...
22:20Celia, I have to apologize.
22:25It's just what I wanted to tell you.
22:29I ran away yesterday and you don't deserve it.
22:32But why are you apologizing to me?
22:35Because I was selfish.
22:37I had no right to kiss you,
22:39much less to tell you everything I told you about Sopeto.
22:43I understand perfectly well that you wanted to run away.
22:47I would do anything to go back
22:50and you could forget everything, I swear.
22:53But I can't.
22:56And I don't want to.
22:58And...
22:59I don't want to lose you either, Celia.
23:02You...
23:03You're my best friend and my soulmate.
23:07The person I admire the most and need the most.
23:10You're everything to me and you know it.
23:12Love,
23:15I'm a woman
23:17and you can't fall in love with me.
23:23I consider your warning important,
23:25but don't accuse me of something I didn't do.
23:31Oh, yes, sure.
23:32Long live the duchy.
23:35To hell with your duchy.
23:37Pietro, what's wrong?
23:39Who were you talking to?
23:40To an Italian consulate official.
23:43A guy who...
23:45Sorry, sorry.
23:46A guy who knows nothing about life and much less about us.
23:49What's the problem? What's wrong?
23:50The same as always, Antonia.
23:52I can't get married again.
23:54And this now? Why?
23:55Because if I do it by Italian law,
23:57I'd be committing a crime.
23:59A crime?
24:00But you told him you wanted to get married again.
24:03Of course not.
24:04It wasn't me.
24:05It was Lucia.
24:08This morning she was at the consulate to sort out her things and...
24:12I see.
24:13And since she doesn't want to get married,
24:15she told him her husband wants to get married again in his absence.
24:18Yes.
24:19And that would mean a crime of bigamy.
24:23I don't understand the robbery.
24:27I didn't know.
24:32So that's why you want to go to Berlin.
24:34But since I can't fall in love with you,
24:36I don't have the right to be your friend.
24:38But why do I have to lose you?
24:40Because I can't be by your side, Laura.
24:42But...
24:43I'm not worth being your friend, don't you understand?
24:45But I don't think it's fair to have to lose you.
24:49And you think it is for me?
24:51Do you think it's easy to have to repress me all the time?
24:55I swear I've tried, Laura, I swear.
24:57But I can't.
24:58Every time I see you, I feel like kissing you.
25:01But...
25:02What about everything we've been through?
25:05And everything we've built?
25:07Have you heard what I'm telling you?
25:12Laurita.
25:14I hope I'm convincing Celia that her trip to Germany isn't a good idea.
25:19Don't you know how cold it is in that country?
25:22How boring the people are and how impossible their language is?
25:25Not to mention the food.
25:26It's definitely not a good idea.
25:28What would we do without you?
25:30And above all, Laurita, correct me if I'm wrong.
25:34What Celia decides about her future job is none of our business.
25:38So the only thing we can do is respect her decision.
25:43Although I hope she thinks about it better and doesn't get dizzy.
25:47What do you think?
25:48Should we keep arguing about this while we have a drink?
25:51I'll invite you.
25:52No, I can't. I have a lot to do.
25:56Laurita.
25:59It'll be a pleasure.
26:12Dona, I understand that it's hard to digest.
26:15But I'm sure that Lucia did it without bad intentions.
26:19I'm sure she left without saying a word.
26:21Being there, at the consulate, at home...
26:23Listen to me.
26:25I understand that you took Lucia in.
26:27I understand that you didn't want to leave her on the street.
26:29I agree.
26:30I can even understand that you live with her.
26:32But I can't understand that you're still so naive.
26:36What do you mean?
26:37That she's fighting for the same things as me.
26:39For you.
26:40And she's using all her weapons.
26:42The things she doesn't want you to notice.
26:45But that woman knew what she was doing when she told that to the officer.
26:49And I can understand that.
26:50But there's a difference between her and me.
26:53I'm not going to use a trap to have you.
26:58I'll talk to her today.
27:03So, I guess the retirement thing...
27:06Yes, we'll have to leave it for another day.
27:10I think it's better to talk to her today.
27:12Is that okay?
27:14Okay.
27:20You're incredible.
27:22I can't stop congratulating you for how punctual you've been lately.
27:27Especially when Marta comes to clean.
27:29How did you manage to be so early?
27:33The secret is in the motivation.
27:35And Marta gives it to me.
27:36I see.
27:37The thing is that your father is happy and that's good for me.
27:41I wish the other part of my life was that good.
27:44What other part of your life?
27:45Still with Trini?
27:46The other part.
27:47Now my life has three parts.
27:48It's like trying to keep a ball in the air and it always falls to the ground.
27:53You're very interesting.
27:55Look, there's the ball that fell to me now.
27:58What a surprise!
28:00What are you doing here?
28:01What are you talking about?
28:02Go to the woodshed.
28:03The ten-minute break is taking too long.
28:10Hey, Salvita!
28:13Elias.
28:14What's up?
28:16Elias.
28:17Tell me.
28:18I'm very disappointed with you.
28:20Trini told me that yesterday you went for a walk with my future mother-in-law.
28:24And this can't be.
28:26Of course it can be, Miguel.
28:28Look, if it can be, it happened.
28:30And since it happened, of course it was.
28:32A man as educated as you should speak with more propriety.
28:35I mean it can't happen again.
28:37And from this very moment I terminally forbid you to court my future mother-in-law.
28:42Well, since you're my friend, you should be happy to see me so happy.
28:46And yes, yes, I want to see you happy, but with someone your age.
28:50What are you going to do when you get married to her?
28:52Have you thought that breaking the heart of an older woman is twice as cruel?
28:58Well, what if she gets tired of me, Miguel?
29:01Because she was going to be the one to break my heart.
29:03Because I was never going to leave her.
29:04When I say never, it's never ever.
29:07I'm sorry, Miguel.
29:08But it's just that Cupid has been in a hurry to throw the arrows.
29:13And he has united our hearts in the same throbbing.
29:17Stop saying nonsense and if you appreciate me and especially Trini,
29:21leave Leonora alone and I assure you that we will not forget her.
29:24And if you appreciate us, let us be happy.
29:30And eat sweets.
29:34But what has this man seen?
29:39Mr. Íñigo.
29:43You seem to be absorbed in your thoughts.
29:46Yes, yes, and so it was.
29:49And I'm glad you got me out of them.
29:52I'm glad to see you.
29:53Do you want to drink something and go home?
29:55If you don't mind, I'll charge it another day.
29:58I know that you and Mr. Fermin have met with Mr. Fabio del Moral
30:01and that he has transmitted to you that Mrs. Bárbara refuses to sell the premises.
30:06Indeed.
30:08Why? Is there any news about it?
30:11This morning I personalized myself in Mr. Fabio's office.
30:15I hadn't had a deal with him yet, but you know that in the face of desperate situations,
30:19desperate measures, he told me,
30:21I think it's time to meet him.
30:25A man with initiative, that's very good.
30:28I was surprised that Mr. Fabio insinuated to me that despite Mrs. Bárbara's rejection,
30:34his decision was not definitive.
30:37What do you think of that?
30:41I think that Mrs. Bárbara is not to be trusted.
30:43And that anything can happen to her, only if she benefits.
30:47Mr. Fermin defends that all this is a strategy to later sell above the market price.
30:53If this is so, that means that he has been laughing at all the businessmen in the gallery.
30:59Well, I've already told him that if he wants to get along with that woman,
31:01the best thing is to imagine the worst of the scenarios.
31:06I'll keep that in mind.
31:08And who tells me that Mr. Fabio seems to be an honest and capable man?
31:11Can we trust him?
31:13Or is it just a person who follows in the footsteps of his representative?
31:18Well, I would say that one thing does not take away the other.
31:21Mr. Fabio can be an honest person and have his hands tied.
31:25He told me himself.
31:26Tied?
31:28I don't know how long an honest man can have his hands tied
31:32and what he defends is unfair or acts against his principles.
31:36Mr. Íñigo, I can only think of one way to know if all this is true.
31:44That you speak directly to her.
31:46Forgive me, but what you ask of me is simply impossible.
31:52That woman has been upset since she lost her daughter.
31:55Are you telling me that the gallery, that my company, depends on an upset woman?
32:02That could be the ruin, Mr. Íñigo.
32:05Try it, please.
32:17What are you doing?
32:19Nothing. I've changed my shift to go out a little earlier.
32:22No, no, no. I mean the flowers.
32:24I've seen you with some stolen ones.
32:26There, in the vase.
32:27My goodness.
32:28You're playing with them today, huh?
32:30Because while you've been sitting in the dressing room and now this,
32:32when the vampire sees you, you're going to get a good one.
32:34Look.
32:36Why didn't you make a brush?
32:37Let's see, Trini, I haven't had time to go to the florist
32:40and I can't introduce myself with my hands empty.
32:42And much less in front of the caliber of a woman like Leonora.
32:45And thanks for the brush, because it's very difficult to be up to her.
32:48No, wait a minute, wait a minute.
32:50Have you been seeing my mother again?
32:52Yes.
32:53Well, and to show that our relationship is going very well,
32:56we're going to go for a boat ride to Lake Redillo.
33:00I can't imagine anything more romantic.
33:02Yeah, well, I can't imagine anything more horrible,
33:04because my mother doesn't know how to swim.
33:06Yeah, but I do, Trini, don't worry.
33:08I predict.
33:09And if we're unlucky enough to get a storm and it falls into the water,
33:12don't worry, because I'm going straight to save her.
33:15That's even more romantic.
33:17Let's see, Elias, I thought that after our conversation in the dressing room,
33:22my position on this matter had become clear and you had understood it.
33:26And I thought you had understood mine.
33:28For God's sake, please, please, please, Elias.
33:31If you forget about my mother,
33:32I swear I'll help you find the perfect woman for you.
33:36Ah, bandit, I know what you're doing.
33:39You're checking, aren't you?
33:40Let's see if I'm a trustworthy person.
33:42Well, smart.
33:44Well, I've found the right person, Trini,
33:47and her name is Leonora.
33:49Besides, look, it was my pleasure,
33:52and I'm looking forward to this second date,
33:53because, of course, the first time we went arm-in-arm,
33:55maybe now she'll let me hold her hand.
33:57Trini, let's see, I know one thing leads to another,
33:59but imagine that I'm still...
34:02I don't want to hear it,
34:04and much less I want to imagine it.
34:07You're good at it, huh?
34:08Yes.
34:09And where are you going dressed like that?
34:10To a baptism?
34:11No, no, no, no, no.
34:12It's just that the young man has stayed with my mother.
34:14What?
34:15Yes.
34:16No, no, no, no, no.
34:17Don't even talk, Elias.
34:18If you cancel this date,
34:19I'll invite you to whatever,
34:20to a football game,
34:21to a boxing match,
34:23to a race at the racetrack,
34:25or to a flamenco table.
34:26And then we'll have a few beers,
34:28and you'll get what you want most in this life,
34:30and it will be granted to you.
34:31Miguel, what I want most in this life
34:33has been granted to me.
34:35Good afternoon to both of you.
34:37And thank you very much.
34:38I won't forget the effort you've made
34:40to help me and Leonora.
34:54Bye.
34:56Mamma mia, Pierre.
34:58I had forgotten how much I like to iron your shirts.
35:07How did the day go?
35:09With a surprise.
35:11Very unpleasant.
35:13They called me from the Italian consulate
35:15to tell me that if I were to marry again
35:18by Italian law,
35:20I would be committing a crime.
35:23Very serious.
35:24I swear.
35:25And how dare they tell you this?
35:27I don't know.
35:28But if they wanted to worry me, they did.
35:32The consulate?
35:33Yes.
35:38Oh my God, Pietro.
35:39I'm sorry, it's my fault.
35:41How stupid.
35:42This morning I went to the consulate for my papers,
35:45and the official is from Ortona,
35:47from the same town as Don Elisa.
35:49And we started talking,
35:51and one thing led to another.
35:53That's what I thought.
35:54But, Pietro, I've never wanted to hurt you.
35:58I just wanted to see my papers
36:01and for you to see that I'm putting everything on my side.
36:04But when they asked me about my civil status,
36:07I couldn't help but tell the truth.
36:09How was I supposed to know that these people
36:11were going to take it so seriously?
36:15Although, seen in another way,
36:17the fact that they reminded you
36:20that we're still legally married,
36:24it's still a sign.
36:26A sign of what?
36:28That our love is still not over.
36:33That we still have a long way to go.
36:38Lucia, you're forgetting Antonia.
36:41You can't ignore her,
36:43like you can't ignore what I feel.
36:45And I don't.
36:46But Antonia is a relative in our life
36:48who understands and accepts
36:49that a man can't be alone.
36:52But I'm back, Pietro.
36:54I'm back.
36:56And maybe now it's time to go back
36:59to where we started.
37:05Why don't we go home
37:07and surprise our son?
37:09I'm sure he'll be very happy.
37:12Yes.
37:17Pietro.
37:19Pietro, can you imagine?
37:21Can you imagine our family reunited again?
37:29Lucia, Giancarlo is a man of his word.
37:33He knows and supports my intentions with Antonia.
37:38You can't imagine what it means for a mother
37:42to have lost the opportunity to see her son grow up.
37:45I won't be able to get it back.
37:48But I'm convinced that our love is still intact.
37:51That's why I know that if we go home,
37:53everything will be easier, Pietro.
37:59You don't understand me.
38:02I don't understand.
38:07Lucia.
38:08Antonia.
38:10It's not a parenthesis for me.
38:13Antonia is the woman of my life.
38:16You don't understand.
38:19Sometimes feelings get confused.
38:21No. No, Lucia, no.
38:24My feelings are very clear.
38:28They're very pure.
38:29I'm sorry.
38:31I always loved you.
38:33And I'll always be in your life, but...
38:35Enough.
38:36This helps me to keep fighting.
38:39To fight and to live this little flame
38:42that is still burning in your heart.
38:44Please, Pietro.
38:45No.
38:46We have to make this trip.
38:49Life owes it to us.
38:52Please.
39:07I totally agree with you, Doctor.
39:10The third act was very exciting.
39:12And we were so close
39:14that we could see the actors cry.
39:17I really enjoyed the play and your company.
39:22Mrs. Alacera.
39:23Yes?
39:24Do you want to sit down and have a drink?
39:27Here?
39:29In the gallery?
39:32I don't know what people will think.
39:35I don't know, but you're being careless.
39:38What difference does it make
39:40if we sit here or in the office?
39:42Although if you feel more comfortable,
39:44we can talk about work.
39:46The difference is that we came together
39:48to see a play.
39:49And I'm dressed like this.
39:51You're the manager of La Moderna,
39:53and I'm the owner.
39:54Do you know what that means?
39:56That no one will ask us
39:58what we do or stop doing.
40:00Please, sit with me.
40:12Mrs. Alacera, Mr. Fermin,
40:14would you like a drink?
40:16A tea.
40:17A coffee for me, thank you.
40:19A tea and a coffee.
40:21Let's go.
40:24You see?
40:25You don't have to worry.
40:27No one will ask us anything.
40:29It's hard for me to separate
40:31the personal side from the professional side.
40:34Mr. Fermin, can I ask you a question?
40:37Ask away.
40:40What exactly are you and me
40:43sitting here?
40:45Or I'll ask you another way.
40:48Why did we go to the theater together?
40:53Two people who get along
40:55and who want to get to know each other
40:58beyond the professional realm.
41:00Is that answer worth it?
41:02It is.
41:03Excellent.
41:04My intention is to delve into it.
41:16Celia, are you leaving?
41:19Yes, I feel better now.
41:21Thank you for everything you've done for me,
41:24but I have to go home.
41:26Does Laurita know?
41:28I don't think she'll like it.
41:30Not yet, but I'm sure she'll understand.
41:35Celia, I know what happened between you two.
41:38I saw Laurita very upset
41:40and I told her to tell me,
41:42but she didn't want to.
41:44I promise.
41:48But she did.
41:50Do you know how uncomfortable this situation is for me?
41:54Not to say humiliating, Inés.
41:56Celia, I really appreciate you.
41:58And I'm sorry to see you suffer like this.
42:02That's it, right?
42:03You can put a poster in the gallery
42:05saying the photographer likes women.
42:07No, Celia.
42:08You know I'd never judge you for something like this.
42:15Forgive me, Inés.
42:20I know.
42:23But I had no right to tell you.
42:26Not without my permission.
42:29I'm the one who made a fool of myself.
42:32But since when is making a fool of yourself
42:34a sign of your feelings?
42:36You're very brave for doing it.
42:38Brave?
42:39Yes.
42:40But what good would it do me?
42:42I should have kept quiet.
42:44I should have kept it a secret
42:46and not bother anyone with my extravagances.
42:51Celia, falling in love is wonderful.
42:54Even if it's someone of your same sex,
42:56it doesn't matter.
42:57It's not an extravagance.
42:58Yes, it is.
43:01And in this society, even more.
43:04It's a perversion.
43:09If I ever had any hope of being with Laura,
43:14now I'm sure it'll never be like that.
43:19That's why I have to go, Inés.
43:21Not from this house, but from the city, the country.
43:24I need to disappear.
43:27And you think that by moving away from her,
43:29you'll stop loving her?
43:30I don't know.
43:31But if I don't, I'll go crazy.
43:36Celia, look at me.
43:39Look at me.
43:43Why don't you go to sleep
43:45and we'll keep talking?
43:50About my sorrows?
43:52No, about our hopes.
43:58It hurts so much, Inés.
44:01I know.
44:02I know.
44:26I can't imagine a future without you.
44:28You're the woman I've loved the most.
44:33Really?
44:37Matilde Garcés?
44:41Do you want to spend the rest of your life by my side?
44:46I'm dying to share my life with you.
45:03Matilde!
45:08We were looking for you.
45:10What are you doing here?
45:12I needed some fresh air.
45:14And you?
45:16You should be in your pajamas, in bed.
45:19You have school tomorrow.
45:21I didn't want to go to bed without knowing where you were.
45:23Well, without...
45:25Without what?
45:27Tell me, Clarita.
45:28Tell me what you just told me.
45:30You're very sad, Matilde.
45:32Just like now.
45:34It's like you've been crying.
45:38Do you miss Iño?
45:40Yes, of course.
45:42I miss him a lot.
45:45Then...
45:47You'd all be hallucinating if you went back to him.
45:51It's not that easy.
45:54Because...
45:57Well, because...
46:00Because two people can love each other,
46:02but they can't always be together.
46:04In all relationships, there are bad and good moments.
46:08That's right.
46:09And now we're in a bad moment.
46:13I know.
46:14But if two people really love each other,
46:16they can have good and bad moments.
46:19But they don't have to separate.
46:21I'm right.
46:23It's not that easy, my love.
46:26I don't understand why you don't make up.
46:28I've told my friend Lara everything.
46:31And she agrees with me.
46:33Her father abandoned her mother.
46:35And she's having a hard time.
46:38She says they didn't fight enough for each other.
46:43Your sister and I want to meet your new friend, Clarita.
46:46Right, Matilde?
46:48Yes, a lot.
46:50When are you going to invite her to the corral?
46:53Not yet.
46:55It's too soon.
46:57Well...
46:59It's a bit late to be chatting.
47:01Come on, everyone go to bed.
47:17Are you afraid of dreaming about Carla again?
47:26No.
47:34You have to start packing.
47:36Here, dear.
47:38Think about what you're going to need
47:40and make a list so I can buy it.
47:43There are still five days left.
47:44I know.
47:45But it's better to be forewarned.
47:48Let's toast.
47:49Why?
47:51Because after all, we're going to make it.
47:53You're going to start a new wonderful life.
47:57Although I haven't always thought it could be possible.
48:02Anyone would say they're happy to get rid of me.
48:05Well, anyone would say
48:07you're the one who wants to start a new life.
48:10Far from me.
48:11How can you be so unfair to me
48:13after everything I'm doing?
48:16When you leave,
48:17you don't know how lonely I'm going to be.
48:19For not having, I won't have Fabio.
48:21I've sacrificed my relationship with him for you.
48:23So don't tell me that.
48:26I'd give anything for you not to have to leave.
48:29Anything.
48:31I'm sure you'll be able to move on.
48:34Even that you'll find a new Fabio.
48:37And you know why?
48:39Because surviving is something you do very well.
48:46Are you expecting someone?
48:47Absolutely not.
48:49Well, whoever it is, he'll get there.
49:02You're going to have to decide.
49:04For one woman or another.
49:06I'm in an impossible situation.
49:08I don't know how to get out of it.
49:10But come on, if you want Antonia,
49:12you have to stop tightening the rope.
49:14She's having a very bad time.
49:16If you don't want to tighten the ropes,
49:17you have nothing to do.
49:18Go wherever you came from.
49:20Mrs. Bárbara was alone at home.
49:22She wasn't even at work.
49:23And there were two glasses of wine
49:25full on top of a table.
49:27I don't want to sound opportunistic,
49:29but I told her this would happen.
49:31As I also told her
49:32that her debut in the court of the pharaoh will come.
49:36Getting on stage again.
49:38The appearances, everything,
49:40has disappeared all of a sudden.
49:42Do you also think it was Mrs. Bárbara,
49:44Carla's mother?
49:45She's a woman with more reasons than she is.
49:47I only told you the truth,
49:48that you're going to end up singing and winning.
49:51Winning, I don't know,
49:52but maybe singing very soon.
49:55My speech therapist told me
49:56that I should do a test with the audience.
49:58We have to talk about your friend
50:02and your dates with our friend.
50:04Yes, because this is going too far.
50:06What?
50:07It's going too far
50:08that a decent and widowed lady
50:10has fun with a decent and single man.
50:13Where are these two going?
50:14She has a smile that goes from ear to ear.
50:17Laurita told me that she's back home
50:19and because she told me,
50:20I sensed that something had happened between you two.
50:22I couldn't take it anymore.
50:24I think our friendship is over.
50:26Let's see if you hurry up,
50:27because at this rate,
50:28I'm going to marry Leonor before you marry Trini.
50:31By the way,
50:32we could have a double wedding.
50:34We're talking about
50:35Mrs. Lázara being responsible
50:37for one of her employees
50:38staying in bed for life.
50:40I'm still trying to make sure
50:41that what they're saying is true.
50:43This woman has no scruples.
50:45How did it go at the theater with Mrs. Lázara?
50:49What a smell you have.
50:51Because that's exactly what I wanted to talk to you about.
50:55I'm thinking of taking another step in this relationship
50:58and I'd like to know
50:59what you think about it.
51:03I don't know what else to do
51:04to speed up Carla's trip.
51:06It's all set.
51:08She'll leave Spain in three days.
51:09Mrs. Lázara and I
51:11were having a drink in the living room
51:13and it seems that since then
51:15the rumors have spread.
51:18With everything that's happening to us...
51:20What's happening to us?
51:22We never see each other, Antonia.
51:24We don't talk much
51:25and when we do,
51:26we only talk about bad news.
51:28You're so focused.
51:29The truth is that yes,
51:30I'm studying.
51:32You're so dedicated.
51:33Well, if you want,
51:34I can ask you the lesson
51:35so you can learn better.
51:37Leave it.
51:38Antonia asks me
51:39and she does it every day
51:40and she does it very well.
51:41That woman stopped our wedding.
51:42She's going to keep doing it.
51:44We live in separate houses.
51:45We're thinking about her all day.
51:46That woman, for God's sake.
51:47We're thinking about this woman
51:49because of humanity.
51:50That's enough.
51:51She doesn't have enough humanity.
51:52It hurts me that you don't cut
51:53with Lucia for good.
51:54But I can't, Antonia.