Salón de té La Moderna - Ep 220
Transcript
00:00And now what do we do?
00:07Well, now we have to be more careful than ever.
00:09For the first time, we can take a step in front of them.
00:13And we have to take advantage of this advantage.
00:15Yes, we have to prove our suspicions and show our cards.
00:18That's it.
00:19We have to think carefully about what our next steps will be.
00:23Because Matilde, we are moving in a swampy terrain.
00:26And any false step would be fatal.
00:29I know. And I'm the first one who wants to be cautious.
00:32But that doesn't mean that we should let it pass.
00:36No, no, no. I'm not saying that.
00:38In fact, I'm going to visit Mr. Fabio.
00:41Let's see how he breathes.
00:43Yes, I've also thought about it.
00:45He's the best thread we can pull.
00:47And of course, if Carla is alive...
00:49He knows.
00:52I have to go to Antonio's house.
00:54I don't want it to get any darker.
00:56Yes, and I think you should take a taxi.
00:59It's not good to walk for two hours on the street.
01:03It's fine.
01:06How is Clarita?
01:09Much better.
01:11Being at Antonio's house is a blessing for her.
01:16And not to mention her new friend, Lara.
01:19I'm glad.
01:21I'm really glad.
01:24Matilde, if we solve all this about Carla...
01:30Maybe it would be a good time to try to be happy together again.
01:39It's too soon to know.
01:42But everything will work out.
01:53A YEAR LATER
02:09You do have a long face today.
02:11Did you sleep well?
02:13Yes.
02:18Pietro, we know each other.
02:20Something's wrong with you.
02:22And what does it have to do with what happened with Antonia yesterday?
02:26You told her, didn't you?
02:28You know there are no secrets between us.
02:36Don't be sad, Pietro.
02:38You'll see how everything will work out with the love you have for each other.
02:42Yes, Marta, thank you.
02:44But that won't make things easier.
02:47That's for sure.
02:48But thank you for trying to cheer me up.
02:51I'll leave you to it.
02:54Good morning.
02:58Did you see her?
03:00What time is it? I've already met two rude guys.
03:03One of them has to put up with it.
03:05I had a drink with him. He's having a bad time.
03:08Then I'll have a drink with your Romeo.
03:10Do you think I saw him on the terrace and he didn't even say hello?
03:14What a piece of shit.
03:16Esperanza must have seen her. I didn't drink so much.
03:19If it were up to me, she wouldn't come near you anymore.
03:21What an idiot.
03:23Look, I'm going to tell you something.
03:24Don't judge a book by its cover.
03:26Or a boy by his origin.
03:28You don't know how annoying he is.
03:29Here, prejudices hurt everyone equally.
03:32You don't know how many times they've made me miss them because of my humble origin.
03:35So please, I'm going to ask you not to act like that,
03:37blackmailing people for the position of their family.
03:40I remind you that you also had to stop him at first.
03:44And give him a touch of attention.
03:45Well, but that had nothing to do with the fact that he was very rich.
03:48That's because, well, he was a bit of a tough guy and that's it.
03:51Ah, well, that's it. It's not good for you and that's it.
03:53Well, pretend that I'm going to keep seeing him.
03:55That study days with him are much more pleasant.
03:58Ah, study days, you call it now, right?
04:01Well, don't come crying to me later when he tries to take advantage of you.
04:05Don't worry, Esperanza.
04:06Neither Salvita nor any other boy is going to take advantage of me.
04:10It was just missing.
04:12That's why.
04:15I thought I was going to be more uncomfortable,
04:17but if I have been the center of attention, of course I have not noticed.
04:21The same thing happens to me.
04:22I thought there would be many more comments, but nothing.
04:26It is to thank nature that the employees have taken this news.
04:31That speaks very well of the employees and it is his merit.
04:34The truth is that I, well, I didn't have them all with me.
04:40I didn't want to do it officially, but in any case it was the best thing to stop the rumors.
04:45The best thing is to go head on, always, I assure you.
04:49Well, now I see that my fears were unfounded.
04:54I didn't have to be afraid of them.
04:57I realize that the employees of La Moderna know how to keep a person's privacy,
05:03which is what it should be.
05:06Good morning, Mr. Fermin, Lazara.
05:08I'm sorry to bother you, but I have to take care of a matter with you
05:12and I'm sorry I have to spoil your coffee.
05:14I imagine it's about the distribution convention.
05:17Yes, they called me first thing in the morning.
05:18Yesterday we had a tough negotiation and after much thought,
05:21they have decided that it will not be held here.
05:23Wow, and can I know the reason?
05:26The price.
05:27It seemed very expensive to them.
05:29I have tried to negotiate within some limits,
05:31but given the quality of the menus of La Moderna,
05:34I didn't think it was right to lower the prices.
05:37So there hasn't been an economic agreement?
05:39No, there hasn't been this time,
05:41but I have left the doors open in case they want to celebrate something else here.
05:45You have done very well, Matilde.
05:46Not all budgets go ahead, it is the law of the business.
05:50Not to mention that it correctly indicates that we serve quality in La Moderna
05:54and that has a price.
05:57And I thought they were going to take it much worse.
05:59Well, personally, I don't find a reason to be angry.
06:03You have been very careful with your left hand
06:05and you have shown that you perform very well in your work.
06:08I completely agree with Doña Laza.
06:12So Matilde, let's forget about the past and focus on what is to come.
06:16I'm sure it will be so.
06:17Right now I get down to work to look for new clients.
06:21But I didn't want to leave without first congratulating them.
06:24Wow, the news has arrived, right?
06:28I've heard things, sir.
06:29Don't think that no employee has come to me with the gossip.
06:32Things are heard in the gallery.
06:34We counted on it, don't worry.
06:36I hope you have the best of luck.
06:38I tell you from the bottom of my heart.
06:40I'm leaving now, excuse me.
06:46Too soon we thought there would be no gossip.
06:49I don't care if there is.
06:52In fact, the only thing that could spoil my good mood
06:56is that you gave me a negative to eat.
07:00To both.
07:03Don't fail me.
07:19Here is Raquel Meyer's last album.
07:21I won't leave you indifferent, I assure you.
07:30So Raquel Meyer's new album.
07:32You just gave that client a joy, although he still doesn't know it.
07:36What a joy to see her here, little star.
07:38I thought she had forgotten about me.
07:40Woman of little faith.
07:41Didn't they tell you that I was already here yesterday?
07:43Besides, a girl of your art doesn't forget so easily.
07:47I see that she is still as disciplined as always.
07:49They are not compliments, dear.
07:51You know that I admire your goodness and that I believe from the bottom of my heart that you have a lot of talent.
07:55That elf that some have to sing, you have it for the portraits.
08:00Oh my God, little star, I'm going crazy.
08:04Shall we go to La Moderna and have a coffee?
08:06I come served from Hotel Gracia, but the first thing I want to know is how you are.
08:10Yesterday your partner told me that you had a miscarriage.
08:13Good, good.
08:14Luckily, there is nothing to regret.
08:17Well, I'm very happy.
08:20I imagine that you have not only come to ask me about my miscarriage.
08:23You imagine well.
08:24I have also come to remind you that you have an immense art, a wonderful talent.
08:30That you have to take off the room and know the world.
08:33I guess it's a way of decorating that I owe an answer.
08:36The proposal I made you to accompany me on my tour of Germany is still standing.
08:40Keep in mind that it can be the first of many steps in your international career.
08:44I am overwhelmed by the faith that you have in my work.
08:47It is not faith.
08:48I myself have proven that you are a professional from head to toe.
08:52You have a unique touch that I have not seen in other photographers.
08:59Really, I am not from Adulac, Elia.
09:01And I would not want you as my photographer if I did not trust you.
09:04By God, I did not want to insinuate that.
09:06No, nor do I want to pressure you.
09:08If you need more time, you will have it.
09:10But I need an answer.
09:12How much time do I have?
09:14There are still a few weeks left for the start of the tour.
09:16But I have to ask you not to fall asleep in the laborels.
09:18If you do not accept, my team has to look for another one and we are going to count the clock.
09:22I promise you that I will give you an answer soon.
09:26I just need a few days to evaluate the pros and cons.
09:30Of course, I understand.
09:33But if you accept, it will be a pleasure.
09:36I understand.
09:39But if you accept the advice,
09:41an opportunity like this does not happen many times in life.
09:44It is in your hand.
09:46That you know how to take advantage of it.
10:06Agustín.
10:07Good morning.
10:08Come in.
10:09I hope I don't bother you.
10:10I had a meeting nearby and I decided to leave earlier to see how I was doing.
10:15You are almost more concerned about my recovery than Laurita and my uncle.
10:19Just almost?
10:20Wow, I'll have to work harder.
10:22I want the gold.
10:26I've never seen you in such a good mood.
10:28Yes, I come from singing class and my teacher thinks the same as Mrs. Juanes.
10:33She thinks I'm on the right track.
10:35And if it's not indiscretion, where is it on the right track?
10:39Well, when I think about going back to the stages.
10:42Her feelings are good, but they will be better when she sings in front of the audience.
10:46But that's fantastic, Inés.
10:48I should talk to Mr. Íñigo to arrange an act in the Madrid Cabaret.
10:53Right now.
10:54Yes.
10:55Yes, you should.
10:58Is that fear you see in his face?
11:01Yes, a little, but ... but it's not that.
11:04It's just that I have good memories of the Madrid Cabaret, but others ...
11:08I understand.
11:10Maybe you should think about it better, Inés.
11:12I'm not talking about singing again, I'm talking about taking into account other venues to act.
11:18Yes, but in the Madrid Cabaret they gave me my first opportunity.
11:22And I feel that's where I have to sing again.
11:25It is also a way to create beautiful memories of that place again.
11:29You are admirable.
11:31And your whole story to get here is also.
11:34That's an example of overcoming.
11:36Agustín, you don't have to give me the pill now.
11:39No, I mean it.
11:40I think your story is worthy of being known by many people.
11:47Maybe we could talk to the press.
11:51What are you thinking about?
11:53I mean that we could talk to the media.
11:55Because I really think your story would help many people.
12:00And to be honest, it would also give good publicity to the court of Pharaoh.
12:06Yes, especially the second.
12:08I don't know, Agustín, I need to think about it.
12:12Don't tell me you're afraid to face the media.
12:15No.
12:16But if you're going to sing in front of hundreds of people.
12:18Yeah, but I don't want them to start thinking I want to feel sorry to win the audience.
12:24Bad thoughts are everywhere.
12:27In any case, I understand your point of view.
12:30We'll give it a go.
12:32Anyway, I'm going to the meeting.
12:35I'm leaving very happy.
12:36I'm very happy to find you so recovered.
12:39Yes, I'm leaving too.
12:41I want to talk to Íñigo to close my return to the stages.
12:45That's the Inés I know.
12:47Resolved and determined.
12:49Yes, nervous too.
12:51But in this life you have to be brave.
12:53And I'm dying to get on stage.
12:57Let's go?
13:04Well, I'd tell you I'm surprised, but I'd lie.
13:07Because the two of them were breaking a piñon a long time ago.
13:11Poor Don Fermín, he doesn't know where he's getting into.
13:14I don't know what you're talking about.
13:16It's that getting together with the vampire.
13:18Oh my God, I don't understand.
13:20How can you not see that woman with that personality?
13:28What's wrong with you?
13:30You used to come for a command.
13:32And you didn't give me a half-baked answer.
13:34I've been like this all morning.
13:35And before I tried to talk to him, but there was no way.
13:38Oh my God.
13:40Well, now I have to call the ambulance because...
13:43Hey Trini, you really don't suspect why he's like this?
13:49No, because of my mother.
13:51Yesterday she was like normal.
13:54Well, that would be yesterday.
13:56Because today she can't with her soul.
13:58She's had to come all of a sudden.
14:00I see.
14:01And I guess that my mother going to Foncarral didn't help her.
14:04That was the tip.
14:06She's not going to see her love again.
14:08Look, look, look.
14:09Stop talking about her love, okay?
14:11Because it's my mother we're talking about.
14:13Okay?
14:14Because it's true.
14:16Okay.
14:17It's a shame to see her like this.
14:19Don't worry.
14:20He's dead today, but he'll come back to life in three days.
14:22You'll see.
14:23I assure you.
14:27Elias.
14:30What do I do?
14:31Answers, Trini.
14:34Has your mother really left?
14:36Or has she just been a mess to stop seeing me?
14:39And to definitely sink me into misery, of course.
14:41No, no, no.
14:42First of all, first of all.
14:43My mother doesn't want to sink you.
14:44Not at all.
14:45She just wants you to touch the floor a little bit.
14:47Sure?
14:48Leonora is a woman without equal.
14:50She has a butt like no one else.
14:51Now, yes, she lacked a little dance.
14:53Well, with a couple of outings to Madrid Cabaret,
14:55that's going to be fixed.
14:56I as a teacher and she as a student.
14:58What a student.
14:59I see it.
15:00Yes.
15:02So there's no command, right?
15:03Or anything?
15:04No, because dancing, no, dancing.
15:06But singing?
15:07You know, she sings like an angel.
15:09And she has a spark of fun.
15:11At the same time, how interesting.
15:13I'm sorry.
15:14I have to tell you.
15:15Your mother is very attractive.
15:16Elías.
15:17Very attractive.
15:18You're talking about the mother of a classmate.
15:20Boss, I can't have better words.
15:24Leonora has everything I adore in a woman.
15:27Everything.
15:29Don't get cocky.
15:30I've heard you say that many times.
15:32Come on.
15:33Don't make it up, boss.
15:34Don't lie.
15:35When?
15:36To know.
15:37What?
15:39Well, maybe some woman had one or two other qualities
15:42that I didn't like.
15:43But this has nothing to do with it.
15:47Leonora has them all.
15:49All.
15:50And when I say all, I mean all.
15:53Besides, this doesn't happen often.
15:55At least not to me.
15:57That's it.
15:58Don't get too sad, Elías.
16:00I assure you that another woman will appear
16:02of whom you like in all her qualities.
16:04You'll see.
16:06Well, come on.
16:07Each mochuelo to his olive.
16:08If not, then I'll be in trouble.
16:10Come on.
16:11Come on.
16:13And let's leave the subject.
16:14What a woman.
16:18Here is the list with the personalities
16:20who have confirmed their attendance.
16:23Well, you know how this goes.
16:24There are always last-minute appearances.
16:28Rafael Alberti.
16:30María Teresa León.
16:32The truth is that you don't go around with little girls.
16:35You're getting to know me.
16:37The truth is that you keep surprising me and pleasing me.
16:41There is no better advertising for Madrid
16:43than to relate it to the standards of culture.
16:46If we continue like this,
16:47we will end up making the competition coffee Oviedo.
16:49No, no, no.
16:50I don't want to put my friendship with the owner at risk.
16:53Do you want something to drink?
16:54No, no, no. Thank you.
17:00The truth is that
17:01I totally agree with what you have put there, but...
17:06There is a man missing on the list.
17:11His?
17:17I don't know if I will be able to attend the party.
17:20I have been offered a job
17:21and in case I accept it,
17:23I would have to leave Madrid.
17:26And that will be for a long time.
17:29I'm afraid I would take a train without a return ticket.
17:35I deduce that
17:37because of his gesture he has not made the decision yet.
17:41It is a great opportunity, but...
17:44it leads to a lot of changes.
17:47I'm in a mess, I'm not going to deny it.
17:50May I have some advice?
17:53Do what your heart tells you to do.
17:56If it's good for you,
17:57it will also be good for those who appreciate you.
18:00Even if it doesn't work out, you can leave.
18:02Thank you for the advice.
18:06Well, I'm leaving.
18:07We have a lot to do and think about.
18:10Celia.
18:12I didn't expect to see you here.
18:14How are you?
18:15Fine, fine.
18:16We'll talk more calmly.
18:18See you later.
18:26If the walls were crumbling.
18:29No, it's better if they don't.
18:31The past is in the past.
18:34And I came to talk about the future, precisely.
18:37Tell me.
18:38I'm at your disposal.
18:44I want you to let me sing again in my Madrid Cabaret.
18:49As direct as always.
18:52But Inés, before negotiating,
18:53I would like to know how you are doing.
18:56If I come, it is because Mrs. Juánez and my teacher
18:58have advised me to get on stage as soon as possible.
19:01You have chosen Madrid Cabaret as the right place
19:03for your new premiere.
19:06That's right.
19:07But only one or two songs.
19:09And don't worry, I won't charge you.
19:11If everything goes well, we'll negotiate later.
19:14Two songs.
19:17And charging.
19:18Have you signed yet?
19:20Next week I hope to see you on that stage
19:23singing like only you can do.
19:27Goodbye.
19:29I'm glad to have you back.
19:33Excuse me.
19:37Hello.
19:52If you are reading this letter,
19:53it means that you have not forgotten me.
19:55And who knows if you will have forgiven me for this
19:57because I should never have asked you to leave with me.
20:00With a fugitive.
20:02I have started a new life in another country.
20:04A decent life.
20:05But a life without you.
20:07And it will be difficult to find a meaning to it.
20:10Now I know that you are the only good thing that has happened to me.
20:13The only thing worth fighting for.
20:15And that's why I ask you to never stop doing it.
20:19Get that voice back and show all that talent you have inside.
20:22Do it for me.
20:24Do it for you.
20:26Do it for both of us.
20:28I will always love you.
20:30Always.
20:35Always.
20:40I had never seen Pietro so sad.
20:43It seems that the argument has really affected him.
20:46I'll take care of it, Marta.
20:47I'm not having a good time with all this either.
20:49I hope this situation ends soon.
20:51Well, Antonia, but you can't throw away the towel.
20:53You'll see how Pietro and you get out of this.
20:56Look, I don't see the solution today.
20:58So I'd rather not talk about it.
20:59Agree?
21:00Agree.
21:01Tell me, how are the studies going?
21:03Well, it's been a very big effort, but...
21:06But it will be worth it for what I'm learning.
21:08Of course.
21:09You have to continue like this, huh?
21:11That all this will allow you to prosper.
21:14And I'll be there to see it.
21:16It's just that my future can't be prosperous without you, Antonia.
21:19And that's what I want.
21:20To have a good job, well-paid.
21:23Well, then, let's go.
21:26Well, I'm going shopping.
21:28And you, to the books, huh?
21:31Agree.
21:32Bye.
21:39Salvita, good afternoon.
21:41How did I tell Marta?
21:44Has she studied?
21:45Yes, of course.
21:46Very good.
21:50Even if it doesn't seem like it, she's taking care of you.
21:53Otherwise, she wouldn't have gone shopping for not leaving us alone.
21:58Well, the truth is that I'm grateful to be able to study at home,
22:01with the heat in the courtyard.
22:03Shall we start?
22:07Salvita, what about your books?
22:09Aren't you going to study?
22:15I...
22:17Yes, I want to study.
22:19And, in fact, I'm really having a great time these days with you.
22:23It's just that...
22:26It's just that...
22:27What?
22:28Salvita, you're not one to go around in circles.
22:30What's going on?
22:33It's my father.
22:36He found out from a maid that someone had fixed my shirt
22:41and I had to give explanations.
22:44And he didn't find it funny at all that it was you.
22:47And can you tell me what's wrong with me?
22:49No, you're not wrong at all.
22:51Really.
22:52I assure you.
22:53But, but...
22:54My father doesn't really like me dating the cleaning girl to study.
23:01Did he tell you that?
23:05I got angry.
23:09He accused me of letting myself be fooled.
23:12And there was no way to get him right.
23:14The more I defended you, the more he got angry.
23:18So your father thinks I fooled you.
23:23I think it's very ugly, without knowing anything, to be honest.
23:27I'm the first one who feels very bad hearing him talk like that about you.
23:32But I couldn't help it and...
23:35And what, Salvita?
23:38And he has forbidden me to continue coming to study with you.
23:41I'd rather tell you in person instead of giving you a hard time.
23:43But, but you're not a kid, you can decide for yourself.
23:46Are you really going to listen to such nonsense?
23:50Really?
23:53I'm sorry, Marta. Really.
24:05So, is the play confirmed?
24:08Yes, I just spoke to Ñigo.
24:10Congratulations, Inés, for your performance and for listening to me and not delaying your conversation with Mr. Peñalver.
24:16Of course.
24:17You'd better tell Agustín before your own sister.
24:20Well, Agustín was in the right place at the right time, that's all.
24:23But I'm warning you, there will only be two songs, that's all.
24:27Well, as if it were a song, the important thing is that you're going to go back on stage.
24:30Give me a hug.
24:36How much joy is breathed around here?
24:39What have I missed?
24:40Well, the news that next week there will be a very special performance at the Madrid Cabaret.
24:46Inés's.
24:47Inés's.
24:48I'm just going to sing a couple of songs, that's all.
24:51Is that why you were at the Madrid Cabaret?
24:55Congratulations, Inés, it's great news.
24:57And it's not the only good news.
24:59Since we're all together, I'm going to take this opportunity to announce that my good friend Don Fermín has been in conversations with Marcial Lalanda.
25:11Well, but my uncle is a friend of the bullfighter, yes, because that's good news.
25:16And if I told him that his uncle has convinced the bullfighter to do a photographic report in this same studio?
25:24But is that true?
25:26I have Don Fermín as a serious man, and if he says he has convinced the teacher to come and do a report at the gallery, it will be true.
25:34Well, then it is good news, because we would promote the gallery, the store, Celia's work, all at once.
25:41Of course, Marcial Lalanda is a great celebrity.
25:44Yes, any advertising agency would push to make him a report.
25:48But then my uncle got a report at the gallery and didn't tell him anything and let himself be seen by the model?
25:56I think you know your uncle better than me.
25:59The good Don Fermín offered as a counterpart a meal in the tea room to Marcial Lalanda and all his gang.
26:07Yes, well, that suits me better.
26:10I'm leaving, I have a lot to rehearse.
26:13I'll go with you, I have to do some errands too.
26:15Very well, goodbye.
26:16Goodbye.
26:28Marta, I'm home.
26:38Marta?
26:44A lot of books, a lot of books.
26:53Can I come in?
26:55Yes, of course, come in.
26:57Antonio, I'm not going for a walk.
27:02I'm sorry about what happened yesterday.
27:04I shouldn't have knocked on the door, but seeing that we didn't understand each other, I thought it would be better to cut to the chase.
27:12What a way to cut to the chase.
27:16I'm sorry too.
27:18I shouldn't have said what I said and ...
27:20I don't think I have horchata in my veins.
27:23Why don't you sit down and let's have a drink?
27:25No, thanks.
27:27With everything that's going on, my stomach is closed.
27:32I have something to tell you.
27:35I'm scared.
27:36Let's see, what's the new occurrence of Lucia?
27:38No, no, it's not an occurrence, it's something else.
27:40Something that I believe in.
27:42I don't know what it is.
27:43I don't know what it is.
27:44I don't know what it is.
27:45I don't know what it is.
27:46I don't know what it is.
27:47I don't know what it is.
27:48It's something else, something that I think is more serious.
27:51Last night she had a nightmare and between screams she always called a certain Marc.
27:59She woke up and I asked her who it was and she told me she didn't know.
28:06But it seemed very strange to me.
28:08She must be jealous of that Marc.
28:11Antonia, I'm not telling you because of that.
28:14I think Lucia is hiding something from me.
28:19Well, yes, it's a bit strange, yes.
28:22There's something that doesn't fit, but I don't know what it is.
28:27And one thing, when she called you because she had a nightmare,
28:34did you go and hug her?
28:36To calm her down, of course.
28:40Please.
28:41No, please no.
28:42Did you hug her or not?
28:43Yes, I hugged her.
28:44For humanity, alone.
28:46No, humanity is giving to the thirsty or eating to the hungry.
28:49Not giving to the sluggish for a nightmare.
28:51That's not humanity.
28:53Look, you know what?
28:54Two don't argue if one doesn't want to.
28:56No.
28:57Or if one leaves.
28:58No, no.
28:59I'm not leaving like this.
29:00No, because this time you're not going to knock on the door.
29:02So, please.
29:10I'm sorry.
29:11I'm sorry.
29:12Goodbye, Pietro.
29:16Goodbye.
29:20Can you tell me what happened?
29:28You don't seem very excited about the commission.
29:34It's not that.
29:36It's just that I would have liked to know before accepting the report.
29:40Don't you want to portray the bullfighter?
29:43No.
29:44I would like to, but...
29:46Right now I have a lot of work.
29:48And I don't want to leave them halfway before...
29:51You've talked to Estrellita, haven't you?
29:54Laura, I haven't given her any answer yet.
29:58But I'm getting more and more inclined towards him, yes.
30:01And, of course, that's a problem for all the commissions.
30:03I already have them closed.
30:04I don't know how to do it.
30:05Celia.
30:06Let's put the commissions aside for a moment.
30:09You want to leave to get away from me, right?
30:15I need to put Tierra de Por medio between us.
30:20I'm sorry.
30:22But I want you to know that, no matter what you decide,
30:25I won't have anything to object to.
30:28And that...
30:29I'm sorry I hurt you so much.
30:33I don't hold a grudge against you.
30:36When you decide something, you'll tell me.
30:39For me, you're still my friend.
30:42Laura.
30:43Laura, I'm going to buy material for my camera.
31:00Come in.
31:05Good afternoon, Don Fabio.
31:07I'm sorry to interrupt, but someone has to tell you something.
31:10Tell me what?
31:11Tell me what?
31:12Well, since you're still so focused, you're going to get smoke coming out of your head, man.
31:16Take a break, please.
31:20I admit that I deserve a little rest.
31:24I've been buried here for a long time, among numbers and accounts, and...
31:30Sit down and let's talk a little.
31:32Thank you very much.
31:36And I've come to share that with you.
31:39I'm sure Mrs. Bárbara must have told you that I stopped by to see her at the palace.
31:45I'm aware of that, yes.
31:47And I'm sorry it didn't help at all.
31:49I already warned you that Mrs. Bárbara's negative was sharp.
31:53No, no, no, I know that and I'm not here to argue with you or talk about it.
31:57As bad as I may be,
31:58Mrs. Bárbara has every right not to sell the galleries.
32:02That's right.
32:03You know better than me how this business world is.
32:07Would you like something to drink?
32:09A glass of water would be fine.
32:18I was very surprised by Mrs. Bárbara's attitude.
32:22I noticed it with great interest.
32:26She's recovered, isn't she?
32:30Mrs. Bárbara is a very strong woman.
32:34She brings out strength from weakness.
32:37She's a fighter, Nata.
32:40Whatever you say.
32:42I didn't notice the slightest bit of pain in her gaze.
32:46And that's admirable,
32:47considering that her only daughter has recently passed away.
32:55The procession will go inside.
32:58Of course.
33:01I assure you that I didn't see the slightest sign of pain in her behavior.
33:06Although, well, I think you're used to it,
33:10considering that you spend so much time with her.
33:13No, you wouldn't believe it.
33:15We spend less and less time together.
33:18I'm sorry.
33:20Although, well, I'm sure it will be for less.
33:23I'm sure she was with her in the palace yesterday,
33:25having an aperitif or something.
33:28No, no.
33:30I've already told her that things have cooled down.
33:36Well, that's strange.
33:38Because yesterday I went to see her at the palace
33:42and I saw two full glasses of wine on the table.
33:47One I understand is Mrs. Bárbara's, but...
33:50And the other?
33:57Am I missing something, Mr. Fabio?
34:01No, no, no.
34:03You're not missing anything that you should know.
34:06Why?
34:08Because I get the feeling that I'm missing something
34:11and you know what it is.
34:13Your imagination.
34:17A very fun talk, but...
34:20The break is getting too long and I have to keep working.
34:27Yes.
34:29Very entertaining.
34:31Thank you for everything.
34:33I owe a game to chess, Mr. Fabio.
34:36I wouldn't like anything more.
34:57You've taken a real wonder from Maestro Valleclan.
34:59I hope one day his bohemian lights will be represented on the boards.
35:03Have a good afternoon.
35:15Shouldn't you be at Marta's house studying?
35:18That's where I come from.
35:20Let's say we finished earlier than expected.
35:22I'm glad to see that your study is flourishing.
35:25That's a sign that you have more and more control over your brain.
35:27You'll see.
35:29No suspension this semester.
35:31We'll see.
35:33Yes, trust me.
35:35And speaking of that...
35:37Maybe it's time to call your father, right?
35:40My father? Why?
35:42Well, I'm not one to sell the bear's skin before hunting it,
35:46but it looks like I've got you on the right track.
35:52I've fulfilled my part of the deal.
35:54Now it's the mover's turn.
35:55Mind you, I'm not doing this just for my promotion.
35:58I think Don Salvador has more than enough reasons to be proud of you.
36:03If you only knew.
36:06What should I know?
36:08No, no, leave it, leave it.
36:10I don't want to know. I'm going to call him.
36:12You'd better not even get close to the phone.
36:14I'm telling you, it's not the best time to bring up the promotion to my father.
36:19Don't tell me you've missed all these supposed study afternoons.
36:23No, Miguel.
36:26It's Marta.
36:28My father's angry because I'm studying with her.
36:30Salvita, I'm not following you.
36:32But, well, I've said it, I don't want to follow you.
36:35If you'll excuse me, I have to make a call.
36:37No, Salvador, I'm not stopping you, I've told you.
36:39My father's angry with me because I'm studying with Marta.
36:41But how is Don Salvador going to get angry because you're studying?
36:44The problem, according to him, is the company,
36:47who prefers to see me with my friends from the tuna
36:50than with the girl who cleans the bookshop.
36:52Damn, with Don Salvador.
36:54Yes, damn, with Don Salvador.
36:57Well, but that doesn't invalidate our agreement.
36:59My function was to make you get your ass in the right place.
37:03And I've done it.
37:05And you've also made your son fool around with the cleaning girl.
37:07Ah, ah, ah, that's out of my control.
37:09And our agreement, we didn't establish anything
37:11about avoiding any company.
37:13I've won the promotion, period.
37:15You don't have to convince me.
37:17I'm on your side.
37:18But my father, I suppose, won't have the same opinion.
37:22And what exactly does that mean?
37:25It means, dear Miguel,
37:27that you can be closer to the dismissal than the promotion.
37:34But how are they going to end up arguing every time they see each other?
37:37If you and Pietro love each other more than anything in the world.
37:40Yeah, well, you see.
37:42Every time we see each other, we try not to argue,
37:45but we always end up arguing.
37:46Come on, stop that.
37:48And tell me what happened.
37:52I don't know.
37:54I can't take it anymore, Mathilda.
37:56I can't take it anymore.
37:58The truth is that I try to think that everything is going to be solved,
38:01but every time everything seems like a chimera to me.
38:03The truth is that it doesn't seem like it's going to be easy or soon,
38:07but you've taught me to be strong.
38:10And not to faint.
38:12Don't you remember the one where you said,
38:13that you encouraged me not to throw the towel?
38:16Well, you know what they say, right?
38:18The advice I sell that I don't have.
38:23And isn't Clarita coming with you?
38:25This time I'm going to let her take care of the bag.
38:28But don't get used to it.
38:30And yes, Clarita is with her friend Lara.
38:33Oh, again?
38:35Yes, it seems that they have fallen in love.
38:37And I hope it lasts,
38:39because that girl does very well to Clarita.
38:41She is more sociable and affectionate.
38:43Yes, she catches the eye.
38:45So, about going to Jerez with your aunt and Pablo?
38:51No, I don't think about it anymore.
38:53It doesn't make sense.
38:55I don't want Clarita to be sad again.
38:58We are fine here.
39:00We are? The two of us?
39:02Does that mean that you are better with Iñigo?
39:07Let's say that...
39:09Let's say that...
39:11we have an important matter in hand.
39:14And I can only tell you that thanks to that
39:17we are regaining our connection.
39:19Well, that's a reconciliation.
39:22And not because you want to, Charos,
39:24much less because I'm delighted with you here, but...
39:26Are you thinking of going back with him?
39:28Go back to his apartment?
39:30I don't know.
39:32But there is nothing I want more in the world.
39:33I know.
39:37But you know that you have to be strong
39:39and don't throw the towel.
39:41What a remedy.
39:45And you don't know how hard it was to feel
39:47that we couldn't be together.
39:49But I couldn't do anything else.
39:51His doubts were like daggers.
39:53I see.
39:55I would love not to know that feeling,
39:57but don't make me indifferent.
39:59But I still love him, Antonia.
40:00And the wounds heal with love.
40:04And, well, I can finally begin to see
40:07the beginning of a reconciliation.
40:12Antonia, I've had a really bad time,
40:15but I'm finally starting to see the light
40:18at the end of the tunnel.
40:20And that's what I want for you and for Pietro.
40:22To regain that beautiful love
40:24that they have always felt for each other.
40:27I hope so.
40:31It's always a pleasure to have you here.
40:34How's the family?
40:36Fine, fine. Thank you very much.
40:43If the looks killed him,
40:45he would be a vampire and she would be dead.
40:48I can't help it, Cañete.
40:54The demons take me away when I see
40:56how blind Mr. Fermin was with Mrs. Lázara.
40:58I knew you weren't going to let him run away.
41:00Seeing how you took yesterday
41:02the announcement of the relationship between the two.
41:04I don't know what you want me to do.
41:06This woman is going to end up with his.
41:08Maybe they've really fallen in love.
41:10Maybe Mr. Fermin is as naive
41:12as to really fall in love with her,
41:14but she...
41:16This woman is a bug, Cañete.
41:18And Mr. Fermin has to know it.
41:20Don't move, Teresa.
41:22Don't do anything crazy.
41:24What are you going to do?
41:26Well, look, Cañete.
41:28I'm going to do what I have to do.
41:30As soon as I can,
41:32I'm going to go to Mr. Fermin's office
41:34and I'm going to explain to him
41:36what kind of person he's starting a relationship with.
41:38Let's see, Teresa,
41:40I'm not saying that your intentions are not good,
41:42but we only have the testimony of a woman
41:44who doesn't appreciate Mrs. Lázara very much.
41:46And you think that this woman,
41:48with how scared she was,
41:50that she didn't even want to talk,
41:52is going to lie to us?
41:53But it's his word against the watchman's.
41:55The watchman told us that it was all an accident.
41:58He had no reason to lie to us.
42:00Look, Cañete,
42:02the longer we take to tell Mr. Fermin what we know,
42:04the more entangled he will be with that woman.
42:06So let's put the cards on the table
42:08and let him decide if this person is right for him.
42:10But don't be reckless, please.
42:13Look, Cañete, it's decided.
42:15And if I have to risk everything for everything,
42:17then I'll risk it.
42:20No, Teresa, if you think so.
42:21Teresa, don't be crazy, please.
42:43Are you going out?
42:45Not exactly.
42:47You look very dressed up.
42:48You dress up when you have a plan, don't you?
42:51I have one.
42:54Dinner with my husband.
42:57Unless...
43:03he has another plan.
43:07Lucia, no, please.
43:09Lucia, you're going to catch a cold.
43:12Come on, don't be like that, Pietro.
43:13Lucia, please.
43:15We can have dinner together,
43:17but nothing more than that.
43:19And I thought I made myself clear, didn't I?
43:23The other day I proposed to go to Italy with you.
43:26And you haven't given me an answer yet.
43:30I haven't forgotten it, don't worry.
43:34I'm putting your happiness on the table, Pietro.
43:38I don't know what to do.
43:40I'm putting your happiness on the table, Pietro.
43:43Recovering our happiness and our life
43:45depends on what you decide.
43:49Lucia, you're not going to get it.
43:51Please, enough.
43:53Well, I think I'm getting something.
43:56You don't have to keep this facade with me, Pietro.
43:58It's time to let go of our feelings.
44:01That's it, that's it.
44:06I already knew that this fire had extinguished us.
44:09You may have been asleep for a long time,
44:11but I know it's still burning inside us.
44:29Marc.
44:31What?
44:36You have the name tattooed on your shoulder.
44:39Curious, isn't it?
44:41Because you told me you didn't know anyone with this name.
44:43Pietro, I...
44:45Now you're going to explain to me what's going on
44:47and why it has the name of a tattooed guy
44:49that you supposedly don't know.
44:53And I hope your answer is very convincing.
45:10Cañete, have you seen Teresa?
45:12Of course, of course I've seen her.
45:14So?
45:17So what?
45:20Does she know where she is?
45:22Let's see if we're where we are, for God's sake.
45:25Of course, these are two very different questions.
45:27You asked me if I had seen her,
45:29not if I had seen her.
45:31I don't know if I saw her.
45:33I don't know if I saw her.
45:35I don't know if I saw her.
45:37I don't know if I saw her.
45:39I don't know if I knew where she was.
45:41They're very different.
45:43I see.
45:45Well, Cañete, do you know where Teresa is?
45:47And if so, would you be so kind as to tell me?
45:50And why should I know?
45:52I don't know.
45:54Maybe because she's your boss
45:56and because her job is right in front of you.
45:59That's a good reason, yes.
46:02Does she know or doesn't she know where she is?
46:04In the living room.
46:06She's in the living room.
46:08I don't know if that will help.
46:10I don't think so.
46:12But I can't be more specific.
46:14Leave those coffees, Cañete.
46:16You don't have any orders pending.
46:18And please,
46:20don't make me force you to tell me where Teresa is,
46:22because she knows where she is.
46:24So much hesitation is not normal in you.
46:27In the dining room.
46:29In the one upstairs, you know.
46:32In that dining room that we have closed
46:34because there is nothing reserved for today?
46:38Don't even think about telling me she's in the dining room.
46:41I came from there.
46:43I've been talking to Pietro and there's no sign of Teresa.
46:46In the changing room?
46:48Neither.
46:50She doesn't have any more breaks until closing time
46:52and she's so diligent that I doubt she's taken the liberty
46:54of taking another one.
46:56Maybe...
46:58Maybe nothing.
47:00She's not in the showroom, nor in the reservation,
47:02nor in the dining room upstairs.
47:04She's not in her...
47:07I don't know.
47:25Teresa?
47:29I was looking for you.
47:31I'd like you to return to your position in the register.
47:35Do you need permission, Mr. Fermin?
47:37I won't give it to you.
47:40Sit down, Mrs. Lázara. We need to talk.
47:43I'm sorry, Mr. Fermin, but I have a lot of work to do.
47:45I've told you to sit down.
47:47Don't make me order you around.
47:48I'll do it myself.
48:05Teresa, here,
48:07has just told me a story
48:09that's very disturbing
48:11about you.
48:13An episode that took place in the Madrid-Paris warehouses.
48:16I know where the shots are going.
48:18If you allow me,
48:20I'd like to explain what's going on.
48:22It's not that I allow it,
48:24it's that I demand it.
48:29What's true in all this?
48:32Well, that depends on
48:34what Teresa has told you.
48:37Is it true that an addict
48:39fell into the cauldron
48:41of the big warehouses?
48:42Is it true that he burned himself
48:45and that the poor woman
48:47was left without food
48:49for the rest of her days?
48:54Yes.
49:01Were you her superior
49:03at that moment?
49:08It's not such a difficult question
49:10to answer.
49:13Yes, sir.
49:15It was...
49:17a...
49:19Honestly, I want you to know...
49:21No, no, enough.
49:23Enough.
49:25I don't need any more explanations.
49:28I've heard enough.
49:43Hi, Lara.
49:45Hi, my girl.
49:48You haven't told anyone
49:50that we're here, have you?
49:52You know how adults are,
49:54they always interrupt
49:56when we're having a good time.
49:58I haven't said anything.
50:00And I've said the right thing about you,
50:02just as you asked me to.
50:04I knew I could trust you.
50:06And me, in you.
50:08I'm sorry.
50:09I knew I could trust you.
50:11And me, in you.
50:13You're different
50:15from all the adults I know.
50:18You're absolutely right about that.
50:23Well, tell me,
50:25how's your sister?
50:27Has she come back with that boyfriend of hers?
50:29He's not her boyfriend, he's her husband.
50:31And...
50:33I don't know if he's coming back,
50:35but I've asked him to leave.
50:37You've done very well.
50:40I hope you go through what I went through
50:43when I was little.
50:45You know,
50:47even if the doctors think it's not possible,
50:49I'm sure my mother died of grief
50:52when she separated from my father.
50:55What happened after your mother left?
51:04My sister moved out of Spain and...
51:06and I was left alone.
51:08Like me.
51:11My sister is in Rome,
51:13and my brother is in Jerusalem.
51:16It's not the same.
51:18You have Matilde.
51:21But I miss Luisa a lot,
51:23and Pablo.
51:25It's normal for you to feel so sad.
51:29There are many losses,
51:31some irremediable,
51:33like my sister.
51:34Some irremediable, like your mother's.
51:38But...
51:40your brothers are different,
51:42Clarita.
51:44Maybe you can see them again.
51:47Although...
51:49God knows when.
51:56I just want everything to be like before.
51:58Like before.
52:03I wish I could do something.
52:05But...
52:07you have to understand that nothing will be the same again.
52:10And that your family will never,
52:12never be together again.
52:18Don't cry.
52:21Don't cry.
52:25You know that
52:27there is a way to avoid pain.
52:31Only one.
52:42We should go to the police right now.
52:46Honey, we don't have enough evidence.
52:48You know that. You said it yesterday. Nothing has changed.
52:51Maybe the police will get them.
52:53Well, for that they should give you credibility.
52:54Our suspicions, and I doubt they will.
52:56Don't you dare
52:58talk to Seto again, or Teresa,
53:00or Keñate.
53:01I thought you had more respect for me.
53:03I could tell you the same.
53:05Alora, who is this Marc?
53:07We had an import and export company
53:10of exotic products.
53:12What does that have to do with you?
53:14Well, that Don Salvador could blame me
53:16for having allowed him
53:18and take retaliation against me.
53:20But what do you mean?
53:22Maybe he doesn't like you?
53:24You have a poor daughter raising malvas
53:26and two criminals like your husband and you
53:29camping at his ranch.
53:31I hope they lock you up in a dungeon
53:34for the rest of your life.
53:36Look, at what bad time did you let me say goodbye?
53:38Next time, better not give me anything.
53:40Let it come as a surprise, so I suffer less.
53:42All this is for Celia, right?
53:44That she confesses her feelings to you
53:46is affecting you more than you expected.
53:48No, that's not it. That's settled.
53:50I don't correspond to them, but I respect her.
53:52What bothers me is that she abandons the boat this way.
53:54I need more than a book to forgive you.
53:56Well, I don't intend to buy your forgiveness, Marta.
53:58I just wanted to have a good time with you.
54:00It's rude to listen to other people's conversations.
54:02Of course it is, and I haven't heard anything.
54:04But from the outside it was obvious that you were having a good time.
54:06They were just some little differences.
54:08No, you don't have to give me any explanation, Laurita.
54:10I'm not a gossip.
54:12But really, there was so much tension
54:14that it looked like the crystals were going to burst.
54:16I have to tell you something that has occurred to me.
54:18It has occurred to us that I have lent you my ear
54:20and that is as important as giving it to the tongue.
54:22Salvita
54:24I'm going to marry you.
54:26Mrs. Peraza, do you think it's a good idea
54:28that we meet at the time of rest to continue
54:30I don't know, dealing with the issues?
54:32I don't want Mrs. Vampira and Mrs. Teresa
54:34to see us now and get mad at us.
54:36But haven't you heard?
54:38What?
54:40Lucia has already made her believe that I have abandoned her.
54:42And if I continue to squeeze her,
54:44it can be fatal for my relationship with Giancarlo.
54:46So?
54:48I hope you don't go around airing our intimacies
54:50of daily life.
54:52This is very personal, Pietro.
54:54And don't worry that Carla
54:56hasn't done anything against you these days.
54:58She understands less that she wants me to attack you,
55:00but that passivity of hers escapes me.
55:02Look, I can only tell you
55:04that Mrs. Lázara is not the woman that Don Fermín believed.
55:06Of course.
55:08We just want to know if she's okay.
55:10I'm not a young man alone.
55:12I know how to manage disappointments.
55:14What a beautiful hair you have.
55:16It's blond.
55:20And that beautiful bear.
55:22Could you lend it to me?
55:24Yes.