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00:00A FEW HOURS LATER
00:06Oh, God. Oh, God.
00:09Oh, Babylon, I'm so dizzy.
00:11I'm sorry, Mrs. Chilo. No, no, it won't happen again.
00:14I'm sorry. Goodbye.
00:16You two, what are you doing here?
00:18Fifteen years, but how did you manage to get in singing La Iva?
00:21Oh, really, but with what you've insisted on me singing,
00:23and now you want me to shut up.
00:25But one thing is that you sing at home,
00:27and another that you're out there with such scandalous songs.
00:29But since when? The Pharaoh's court is scandalous.
00:32La Iva, La Iva, with the censorship we've come across.
00:36With the censorship, not with the neighborhood.
00:38Eat and shut up.
00:39Put the table down, I'm going to change.
00:41Get some cups and a tablecloth down there.
00:47I don't get off my head at night in the cabaret.
00:52What we're not going to get off is the bad body we're going to have this afternoon.
00:56Well, we had to celebrate.
00:58Yes, but all night standing, dancing and drinking,
01:01it's not the best treatment for my vocal cords.
01:05Who knows?
01:07Maybe what I needed was to bring joy to the body.
01:11I had forgotten that they bring me the genre now, first thing in the morning,
01:15so I have to go.
01:17Are you leaving already?
01:18Yes, I'm sorry.
01:20But don't you want to eat anything?
01:22No, later I'll eat something at La Moderna,
01:24if the delivery guy is waiting for me.
01:26Let me accompany you.
01:27No, no, no, don't worry.
01:29Take care.
01:30See you.
01:46We have to report.
01:50My love,
01:52if we want to convince them to enter that house again,
01:55we need something more than Jacobo's statement.
02:04I know it's difficult for you.
02:07When you said you saw Carla,
02:11we all doubted you.
02:15I'm willing to tell what I saw.
02:19But for that I would also have to tell about Dr. Mendoza and everything that has happened.
02:23Yes, yes, I think it's very good.
02:25We kill two birds with one stone.
02:27That man doesn't deserve to grow up.
02:30Then you have to talk to Inspector Jiménez.
02:33The complaint has to reach the people responsible for the case
02:35so they can take it to court,
02:37so the judge can reopen it.
02:39Yes, yes, yes, of course, it will be complicated,
02:41but I will ask Jacobo for help.
02:43I'm sure he will do it well.
02:47My love,
02:50if you don't want to,
02:52you don't have to report.
02:53We'll find a way.
02:56I'm imagining myself
02:57sitting in the police station with a cop
02:59telling me that Carla is dead
03:00and that everything is my imagination.
03:02No, that's not going to happen.
03:04Because it will be me
03:06who will file the complaint.
03:08I will tell them what Fabi told me yesterday.
03:10That's it.
03:11I will tell them what Fabi told me yesterday.
03:13That's it.
03:14But that's a deduction of yours,
03:16mere speculations.
03:17Yes, I know, but it's a thread to pull
03:19and I'm sure that if they press him,
03:21he will end up saying what he knows.
03:24That Carla is alive.
03:26Exactly.
03:30My love, we have enough to file that complaint.
03:35I know what I saw.
03:36I have no doubt.
03:38But I don't want to go crazy again.
03:40No, and that's never going to happen.
03:42I've already told you.
03:43Because it will be me
03:44who will talk to the police.
03:47And I'm sure that this time it will be different.
03:50This time Carla will leave her house
03:52with the handcuffs on.
03:54And you and I
03:56will be able to forget her forever.
04:08Tell Mr. Juan Ramón that the lemon paste is not ready yet,
04:11but as soon as we have it,
04:12Juan Mozo will upload it to the studio.
04:14He has it before noon.
04:21Do you have a moment?
04:23Are these the lemon paste?
04:24Yes, freshly made.
04:26But how come you didn't tell me anything before?
04:27We had ordered three dozen for the architects.
04:30But you told me they were ready by ten.
04:33And it's ten to a quarter.
04:34And you haven't seen Mr. Juan Ramón's partner here?
04:36He came for the order.
04:38I'm sorry, I didn't mean to interrupt.
04:41It's okay.
04:42Sorry, what did you want?
04:44Nothing.
04:45Bring you the pasta and...
04:49And you said that yesterday I talked to Lucia.
04:52Yes, I imagine you would talk.
04:54It's clear, after spending so much time together,
04:56you wouldn't be there like two dead, right?
04:58Well,
05:00I see you're not in the mood.
05:01I'll come later.
05:02Pietro, I'm not going to be in the mood either,
05:04but if you want to tell me something, do it now.
05:09I told her to forget all that.
05:11What's all that?
05:13All that is that she forgets to stay here in Madrid
05:17and that she doesn't get her hopes up with me.
05:22Don't you believe me?
05:24I'm listening to you.
05:25Nothing.
05:27Antonia, it seems that whatever I do
05:30is never enough for you.
05:34That's unfair, isn't it?
05:36Put yourself in my place for a second.
05:41You're right.
05:42I'm sorry, I'm sorry.
05:44Imagine that every night I'm going to sleep under the same roof
05:48with another man.
05:50A man who has the right to be with me, even if I don't want to.
05:56You're right.
05:58But Lucia knows that nothing will happen between us.
06:01That we're not going to be together.
06:03Whatever happens,
06:06Antonia, I'm going to ask for a marriage annulment.
06:09If it's done like that.
06:12Marriage annulment?
06:13Yes.
06:14To get married, you and me.
06:18Well, I understand that it's not that easy.
06:20Especially if she doesn't agree.
06:22Yes, but we can't deny it.
06:24Of course we can deny it.
06:25Pietro, please, don't be naïve.
06:27One thing is that you tell her that you don't want to be with her.
06:29And the other thing is that she's willing to sign some papers
06:32to annul her marriage that was supposed to last forever.
06:36She'll sign them.
06:37I'm convinced.
06:39Lucia is not a bad person.
06:40I'm not saying she's a bad person.
06:42She's not good either.
06:43I'm just saying that I'll believe the annulment when I see the papers she signed.
06:46And another thing is that the church also allows it.
06:48It's not that easy.
06:49I know, it's not easy.
06:50Yes.
06:51But neither the church, nor Lucia, nor anyone can separate us.
06:55Antonia, if you and I decide to be together, we will be together.
07:00No one can separate us.
07:03Pietro.
07:08Tell a colleague to come get the money, please.
07:24What a night, right?
07:27Yes, yes.
07:34Maybe we should talk about what's going on, right?
07:39The coffee.
07:41You have to see how much Agustín cares about preparing your performance.
07:44The truth is that yes.
07:45Singing here is a way to turn the page and start again.
07:48You'll see that after this, nothing can stop your success.
07:54Here you have a mistela for Miss Laura.
07:59And a Gin Fitz for Inés.
08:02But how do you know I like this cocktail?
08:04Well, it was the cocktail you asked for the day we met.
08:07In fact, I think it was at this very table.
08:11By the way, Laura, when I finish the song, would you like to dance?
08:15Yes, but we can't leave my sister alone.
08:17No, no, I don't care.
08:19Don't deprive yourself of anything for me.
08:21Excuse me, but I'm such a good dancer that I can dance perfectly with both.
08:25Well, you'll have to prove it.
08:34The first few times always cause some concern in anyone.
08:38I have nothing to do with it.
08:40Yes, but more concern is caused by the second chances.
08:44And I assure you that without you, I would not have been able to sing again.
08:49So I thank you from the bottom of my heart.
08:54I have always loved you very much.
08:57The question is why not do it if this little star Castro told you that I would sing again.
09:01Everyone who knows you has a lot of faith in you.
09:05Now you just need to have it too.
09:08And then we will go very far.
09:15How do you like the coffee?
09:19I don't know.
09:22Well, I'll just put it alone and I'll pour you whatever you want.
09:42Maybe I should go.
09:45But don't you drink coffee?
09:49I don't want to get burned.
10:09I'm already here. What happens now?
10:11Thank you for coming so fast.
10:14Do you want to drink something?
10:16You're going to prepare it yourself, having the service working to vary.
10:20I don't deserve you to speak to me in that tone, Fabio.
10:23What you deserve is that I report you and you end up in jail.
10:27Well, I guess I would be outraged in your place too.
10:34What do you want? Don't waste my time.
10:37Come, please sit down. Sit down.
10:45A ship is leaving for Cuba from Lisbon tomorrow morning.
10:49Tomorrow morning? So soon?
10:52Yes. I'm desperate, Fabio. Can't you see how Carla is?
10:56I've spent a fortune on tickets that have gone to waste.
11:00Now I'm more or less convinced.
11:02After what she told me yesterday, I wouldn't say I'm very convinced.
11:07You know how proud she is.
11:09I can convince her to leave.
11:11I know, but I'll never convince her to give up in front of you.
11:15Do you have contacts in Portugal?
11:18I would need to be sure that they won't stop her at the border.
11:22What exactly are you asking me?
11:24Oh, I don't know.
11:28I guess I have no right to ask you anything.
11:31Your daughter already has a fake passport.
11:34She shouldn't have any problems.
11:36I know.
11:38But you know how unpredictable this woman is.
11:42You know, I'm nervous.
11:44What will happen when she crosses the border?
11:46Well, we'd better keep an eye on her.
11:49If they stop her with a fake passport and identify her,
11:53you and I will have to answer a lot of questions.
11:56Fabio...
11:57No, no, no, you don't need to help me.
11:59I'm not going to get involved in this more than I already am.
12:02Make sure Carla leaves Spain, or pay attention to the consequences.
12:06Wait. There's something else.
12:11I'd like you to come for dinner tonight.
12:14Just you and me.
12:16What are you playing at, Barbara?
12:19Fabio, I know I've made a lot of mistakes.
12:24Mistakes? You mean crimes?
12:28I've taken advantage of your trust, and I'd like to fix it.
12:32Let me be a little skeptical about your good intentions.
12:36Well, allow me to follow some of your advice.
12:41For example, sell the gallery premises.
12:45Come for dinner tonight.
12:47Bring the contracts.
12:49We're going to do what you recommended from the beginning.
12:53We're going to sell the premises to the tenants.
12:56It's for the best, isn't it?
12:58That's what I think, but your daughter doesn't agree.
13:01After all, my daughter is dead.
13:03She has no power of decision.
13:06You've seen that she doesn't know what's best for her.
13:09What she needs is cash.
13:12We're going to sell.
13:14What's wrong? Why are you looking at me like that?
13:17I've been telling you for weeks that you should sell,
13:20and you've always refused.
13:22And I've been trying to convince Carla to leave the country for weeks.
13:26Things aren't that simple, Fabio.
13:30Will you come tonight?
13:31Will you come tonight?
13:38I'll be back tonight with the contracts.
13:41We'll see about dinner.
14:02Hello. You're early.
14:05Yes.
14:07Has the distributor come?
14:09Yes, I've put everything in the warehouse.
14:13I'm sorry I couldn't open it for you.
14:15No, don't worry.
14:17I wanted to come early to check the photos I took of Marcial Lalanda.
14:21I haven't finished deciding.
14:26Which one do you like better?
14:29This one or this one?
14:32I like this one better.
14:37That's what I thought.
14:40I don't know, it looks more natural.
14:42It shows a more human face, closer.
14:47Well, let's not talk about it anymore.
14:49This one.
14:51Thank you. I couldn't decide.
14:54Elia, speaking of deciding,
14:57have you already decided if you're going to Germany?
14:59Yes, I've decided if I'm going to Germany.
15:01If you leave, there's a lot to fix.
15:03I know.
15:05But you can't leave just like that.
15:07I have to know if I have a partner to make a decision.
15:09Maybe it's not worth it for me to leave alone.
15:11I know, Laura, but I need a little more time.
15:14A little more time? How much time? Are we good?
15:17I don't know.
15:19Right now, the agency of Estrellita Castro doesn't give life signals.
15:21I've sent them a message and that's it.
15:23I went to the office and there was no one there.
15:25Have you tried calling?
15:27Of course.
15:29Do you realize that this makes me lose a lot of plans?
15:31Laura, do you realize that if I can't tell you yes or no,
15:34it's because I don't even know it myself?
15:36I need to know what my immediate future is going to be.
15:38And a lot of that depends on your decision.
15:40I know, Laura, I know.
15:42I'm dealing with very busy people
15:44and it's hard for me to get an answer.
15:46I ask you, please, a little more patience.
15:49A little more patience?
15:51Don't be ridiculous.
15:55Look, Laura,
15:57I'm very sorry for all the damage I'm causing you.
16:00It's the last thing I wanted.
16:02Don't worry.
16:04You'll have to wait a little longer and that's it.
16:06I promise I'll keep insisting so they give me an answer.
16:09I promise you.
16:11Okay.
16:13Please, don't be mad at me.
16:16Okay.
16:18Don't worry, everything will be fine.
16:21Well, I'm going to go through the agency again.
16:26Okay.
16:42Good morning.
16:44Not so good, right?
16:46What's wrong?
16:48It's this knee that's killing me.
16:50Shall we have breakfast?
16:52A hangover and insomnia.
16:54Insomnia?
16:56I was listening to the rhymes I gave you and you snored.
16:59No, I went to sleep.
17:01It's true I slept, but after a few hours I woke up
17:04and I stayed up all night with my eyes like plates.
17:06Of course.
17:08I haven't slept a wink today.
17:10But you were sleeping a minute ago.
17:12Miguel, can you stop saying when I sleep and when I don't sleep?
17:14I say I know better than you.
17:16If you don't want to go get my book, I'll go.
17:18I just can't get it in my head.
17:20What can't you get in your head?
17:22Can't you have normal desires like everyone else?
17:23Of course.
17:25Now he's an expert on desires.
17:27He's an eminence in the world of desires.
17:31Of course he is.
17:33In all of God's life, desires have always been about food.
17:35That's what my cousin Sonsoles said.
17:37She wanted to listen to Beethoven's Fifth Symphony.
17:40You and your family are all very religious, aren't you?
17:42The symphony, the Divine Comedy.
17:44I'm glad you didn't feel like going to McDonald's
17:46because I had to bring you here to Ramón y Cajal.
17:48Cajal, you're so funny.
17:50And you complain a lot.
17:51Very, very, very much.
17:53I'm just asking you for a book.
17:55And you're a bookseller,
17:57so it's the easiest thing to do.
17:59I'm not saying it's hard,
18:01but look what I'm going through.
18:03Besides, our situation is dangerous.
18:05Well, it's also dangerous to stay up all night without sleeping.
18:08And I can't sleep
18:10because I can't stop thinking about the Divine Comedy.
18:13Well, let's think about something else.
18:16Really? About what?
18:18For example, what are we going to say
18:19when we go back to La Moderna?
18:21People will ask us how the wedding went,
18:23who came to the invitation.
18:25I was going to say that three or four of my uncles came,
18:28the only ones who are still alive.
18:30Three or four is a bit strange
18:32that you don't know how many uncles you have alive or dead.
18:34Well, it's true. Three.
18:36And what are their names?
18:38Obdulio, Paco and Bonifacio.
18:40Obdulia, because there has to be a woman.
18:42And Ramona.
18:44And Obdulia is Pepe's wife.
18:46Pepe is your political uncle.
18:48And what else?
18:58Antonia, do you know where Matilde is?
19:00No, I haven't seen her.
19:02Did she have to come to work today?
19:04Yes, we had to settle some budgets.
19:06She should be here by now.
19:08Maybe she's not feeling well right now.
19:10Well, if you see her, tell her I'm in the dining room upstairs.
19:12I'll tell her.
19:14Felisa told me that she had seen Clarita in the corral.
19:17Have you seen her there?
19:19In the corral?
19:21Yes.
19:23I thought it was very strange that she came and didn't greet us.
19:25I don't know, maybe Felisa got confused.
19:28Maybe Felisa's sight is starting to fail her
19:31after looking out the window so much.
19:34But the thing is,
19:36Clarita was spending the afternoons with her friend, right?
19:38This partner of hers.
19:40Yes, with Susana.
19:41Well, Matilde told me she spent the afternoons with her, yes.
19:44Yeah, but Susana doesn't live in our neighbourhood.
19:47It's a bit strange.
19:49Well, I don't think it's important, Antonia.
19:52You know that Felisa has a lot of imagination.
19:54Well, it's not hard for me to talk to Matilde.
19:57She's at a very bad age,
19:59and lately she's been very rebellious.
20:01But it's normal with everything she's been through.
20:03It's normal that she's a bit out of place.
20:06You're right, Emma.
20:08I need to make sure everything's fine.
20:09I'm going to work. We'll talk later.
20:17So, Obdulia and Bonifacio
20:21are your father's brothers or your mother's?
20:24I don't know. My father's.
20:27And in this story, your mother is an only child?
20:30No, she's not an only child.
20:32Then why aren't your uncles going to the wedding?
20:35They're dead, and dead people don't go to weddings.
20:37And why did they die?
20:39I don't know.
20:41You're the one who said we had to know what to say, right?
20:43Yes, but I don't think they're going to interrogate us
20:45as if we were suspects of a crime.
20:47Well, I don't know.
20:49Since we're making up a story,
20:51at least make up a story that's believable.
20:53Not like you, who doesn't believe anyone.
20:55Hey, I'm sorry, but you don't know how much my knee hurts.
20:57And all since you got involved in that bloody book.
20:59When my cousin Sonsoles
21:01wanted to listen to Beethoven's Fifth Symphony,
21:04her husband went all over town looking for that record.
21:07Well, your cousin's husband is a boss.
21:09No, my cousin's husband is a good husband and a good partner.
21:12He didn't just look for the record,
21:14but also a gramophone, because he didn't have one.
21:16And tell me something, my love.
21:18If he hadn't gotten it,
21:20what would the boy's spot be like?
21:22Would it have the shape of a record, a gramophone,
21:24or would he have got a pentagram-shaped moon?
21:26Look, you know what? I don't need you.
21:28Aren't you going to get the book?
21:30Well, I'll go. That's it.
21:32Get out of my way.
21:34But where are you going? Are you crazy?
21:35Oh, my God!
21:37Oh, my God, it can't be!
21:39He's been cured! It's a miracle!
21:41Okay, okay, I'm not crazy, I'm not crazy.
21:43Well, you're going to be if you don't get out of here,
21:45because I'm going to kick you in the back.
21:47But how are you going to get out in your pajamas like that?
21:49I'm going, I'm going, I'm going,
21:51and I'll see if you calm down.
21:53Here.
21:57Where are you going with that?
21:59Well, I'm hiding my face in case I meet someone I know.
22:01It's not true.
22:02You're such a pain in the ass.
22:04I'm a pain in the ass?
22:06Yes, come on, get out of here.
22:11Divine comedy.
22:23Mrs. Lázara.
22:25But, Laurita, why don't you open the door with your key?
22:27Well, I left it with the rush.
22:29Did you call me, Mrs. Lázara?
22:32Yes, I just came to have a coffee,
22:34but you bring a lot of shopping, don't you?
22:37Did you invite Mrs. Lázara to have coffee?
22:39Yes, well, she's going to tell me her version
22:41of what happened with the guy.
22:43But why so much shopping?
22:45Well, for dinner.
22:47Hey, I don't think it's a good idea to get involved.
22:49What happened between Mrs. Lázara and the guy
22:51is none of our business.
22:53Well, the guy is having a very bad time,
22:55but you bring a lot of shopping to have dinner just the two of us.
22:57I don't understand.
22:59Well, I invited Agustín to dinner.
23:00Well, I don't think the guy wants to make up with Mrs. Lázara
23:03after what I did to that maid.
23:06But, Laurita, they're already doing it.
23:09They're seeing each other outside of work again.
23:11And you could have told me you were going to have dinner together,
23:13because I was going to stay at home.
23:15Well, I was counting on you for dinner.
23:18But I don't paint anything here.
23:20How are you not going to paint anything, Inés?
23:22It's your house.
23:24Yeah, but I don't know.
23:26Do you want to be alone, not with me as a carabiner?
23:28I don't know.
23:30And you're so close to Agustín.
23:32Close to what?
23:34You're not close to him.
23:36Well, I mean, he's helping you.
23:39I don't know, Inés, you're very risky.
23:41If you want to stay for dinner, you stay, if not, you don't.
23:45It will be Mrs. Lázara.
23:47Behave, please.
23:49As always.
23:54Mrs. Lázara, come in.
23:56Inés, dear, thank you for the invitation.
23:58This way?
24:01Come in.
24:03Laurita, how are you?
24:05Very well. Welcome, Mrs. Lázara.
24:25Hi, Marta. How are you?
24:27Fine. What happened?
24:28Nothing happened. Why would something happen?
24:30I don't know, because you didn't show up to introduce me to your father yesterday.
24:34You've been waiting a long time.
24:36You know what happened?
24:41My father wants to marry me to the daughter of the Benets.
24:44A rich family with wineries in Jerez.
24:46Excuse me?
24:48I told him not to even talk about the hairdresser,
24:50that I was very in love with you and that I wasn't going to marry that girl.
24:53But you don't know how he got on.
24:55He had smoke coming out of his ears.
24:56And what happened?
24:58I'm going to tell her.
25:02Her? Who?
25:04The daughter of the Benets?
25:06Yes. Her name is Vanessa and she's about to arrive.
25:09Ah, you're going to meet her.
25:11So your father is going to win.
25:14No, don't get me wrong. I'm not going to meet her.
25:16My father is going to meet her.
25:18I'm going to meet her out of courtesy,
25:20but I'm going to tell her to forget about marriage and commitments
25:23and that I'm going to meet my books and she's going to meet her wines.
25:26And if you don't want anything to do with her,
25:28why do you arrange a date?
25:30I haven't arranged any date.
25:32But I'll have to make a gesture to make her see that I'm listening.
25:35Yes, that you listen to her.
25:37And more, that you're going to listen to her
25:39and you're going to do whatever he tells you, as always.
25:41But Marta, why do you say that?
25:43Ah, look, well, maybe you can get something good,
25:45maybe you can give her some winery in Jerez
25:47or, who knows, some property in England, right?
25:49But Marta, I love you. I'm not going to marry her.
25:57Are you Salvador?
25:59Yes, and you are Vanessa.
26:02Vanessa Bennett Zachary Sinclair.
26:04Nice to meet you.
26:09And how many places does your family have in Madrid?
26:27Negreros.
26:29It's the only word I can find to describe them.
26:32The working days were endless,
26:34the employees were at the limit of their strength.
26:37I warned them many times that a misfortune was going to happen.
26:40Poor girl.
26:42But, and how is that girl now?
26:45She's in a bed.
26:47She can't stand up for herself.
26:49How horrible, really, such a young woman.
26:53And all because of my bosses' greed.
26:56It's the only way I can find to explain
26:59that they were subjecting us to that state of slavery.
27:03And all for money.
27:06I thank God that in the end they fired me.
27:09But, and why didn't you leave before?
27:12Right now, please.
27:14No, no, no, no, really.
27:16It's a legitimate question.
27:18I've also asked myself many times.
27:20Sincerely.
27:22I think I did it because I felt
27:25that I had to take care of all those people.
27:28That someone had to stand up for them.
27:30To be by their side.
27:32But, did you tell my uncle like that?
27:36Of course I did.
27:38Your uncle has always been a lifeline for me.
27:41He has taught me that there is
27:44another kind of businessman.
27:46A fair, equal, human businessman.
27:49Close in the deal.
27:53The thing is that Maria Cristina has always envied me.
27:58But she has told it in a totally different way.
28:02Yes, but she doesn't cheat on my uncle so easily.
28:06And do you really love him?
28:10Oh, Inés.
28:14I feel something for your uncle that
28:16I never thought I would feel at this age.
28:20But you are young.
28:24What I regret the most is not the job.
28:27It is
28:30that something as beautiful as what we were building
28:33between the two of us has been torn off
28:35as if it were a bad herb.
28:37And all for the evil of a person.
28:39Well, don't worry.
28:41I'm going to talk to my uncle
28:43and we're going to clear things up between you.
28:44No.
28:46No, no, I really don't want to commit you to that.
28:48Leave us alone.
28:50In the end, we all want the same thing.
28:52Your happiness.
28:54You are so good to me.
29:03If you agree, we can review what we have discussed.
29:06And I assure you that I did not leave anything.
29:08No, I think everything has been very clear.
29:10Better review.
29:12Let's see, we have talked about the children.
29:14Yes, it is possible.
29:16Well, it's in God's hands,
29:18but it's okay to have it in mind.
29:20More things.
29:22And you have already told me that I am not going to give the breast,
29:24that we will have a nipple.
29:26More, yes, the house.
29:28The separate service area from the family area.
29:30I don't want to mix too much with the servants.
29:32Better two different buildings.
29:34By the way, they will be Portuguese.
29:36The buildings?
29:38The servants.
29:40Regarding the family business, I am not interested in books.
29:42You will have to learn to grow wine.
29:44We are going to put you to work in the winery.
29:46What nonsense!
29:50I will tell my father that you agree with our demands.
29:54Well, I don't ...
29:59I have not said that I agree with everything ...
30:01Let's go!
30:15No!
30:29Please, tell me what it is!
30:31Yes, it's the Divine Comedy of the Marines.
30:33Thank you!
30:35I swear I would eat it!
30:41What's wrong with you?
30:42What's wrong with me?
30:44That your Divine Comedy has brought me a tragedy.
30:47Virgilio has taken me by the hand and has taken me to hell itself.
30:50Why? What's wrong? What do you mean?
30:52That I have crossed paths with Don Salvador in the bookstore.
30:55But how?
30:57But what was Don Salvador doing in a bookstore that is not his?
30:59Well, you see, buying books.
31:01In Casa de Herrera or Cuchillo de Palo.
31:03Oh, mother, but then you are recognized?
31:05I wore the cap well down to my eyebrows and was against the light.
31:07Also, when I saw him by the corner of my eye, I turned my back.
31:09So he hasn't seen you?
31:10Yes, yes, he has seen me.
31:12By the reflection of a mirror that was there.
31:14It was only a few seconds, but we looked at each other.
31:16And he has recognized you?
31:18No, not there.
31:20What happens is that at that moment I had such a panic attack
31:22that I ran out.
31:24And on the way I threw an exposer, I almost ran over an old woman
31:26and there it is impossible that he did not realize.
31:28That's it, that's it.
31:30I'm fired.
31:32What a disaster.
31:34Oh, mother.
31:41I would have to be courting some budgets in La Moderna.
31:44There will be Teresa climbing up the walls.
31:47But it is that until Ñigo returns, I will not go.
31:49But she left a long time ago.
31:52Do you want us to call the police station to see?
31:55No, let's wait ten more minutes.
32:00Well, tell me, Jacobo, how about Seville?
32:03Very good, very happy, the truth is ...
32:06I think it is the most beautiful city in Spain.
32:08And it smells very good.
32:10Because between the azar and all the oranges that are everywhere
32:13and that have the parks, the balconies full of bugambillos
32:15and all kinds of flowers, it is that it is beautiful.
32:17Yes.
32:19How nice.
32:21And the music, the way they speak is ...
32:23I don't know if it's because of the novelty,
32:25but to me the Andalusian accent,
32:27at least the Sevillian,
32:29I think it has a special courtesy.
32:31Yes.
32:33Hello.
32:35Hello.
32:36Hello.
32:38Finally, are you okay, honey?
32:41I'm euphoric.
32:45Inspector Jiménez is going to register Carla's house this afternoon.
32:52But that's very good news.
32:54He even told me that we can accompany them in the registration.
32:57But that's irregular.
32:59It is, but it doesn't matter.
33:02He is very grateful for the information.
33:04Apparently Inspector Jiménez
33:06had been investigating Mrs. Bárbara for a long time
33:08and with the information we have provided him,
33:10we have managed to convince the judge
33:12so that he can register the house.
33:15But do you think it's prudent to accompany them?
33:18Prudent or not, I'm not going to miss it.
33:22I'm looking forward to seeing the face of that bastard
33:25when they put the wives on him.
33:33Añete.
33:35Take the bill from table four.
33:38I gave you four kisses.
33:40But shut up, man, they're going to hear us.
33:43One thing.
33:45Can you tell by the look on my face
33:47that I'm excited to be by your side again?
33:52I'm happy too.
33:54Look, this morning I didn't realize
33:56and I went down the stairs like this
33:58and suddenly I see a neighbor looking at me like this.
34:01Well, well.
34:03Look at people's faces
34:05when they find out we're together again.
34:07Unitrini.
34:09When he comes, he finds the percal.
34:11Hey, don't you think it would be better
34:13to wait a few days before telling him?
34:15Yes, yes, of course.
34:17As you wish.
34:19Son, I don't know,
34:21how everything always goes wrong for me,
34:23it's like something is going to go wrong.
34:25Who is not going to spoil it, Teresa?
34:27Mario, of course not.
34:28And I don't have any ex-girlfriend
34:30who is going to show up here
34:32to set up any ...
34:35Why open your mouth?
34:39But what is this woman doing here?
34:41I don't know, but ...
34:44But I think it's better not to say anything,
34:47they're not going to catch it.
34:49But look, he's going to get into a nurse's office.
34:53I don't understand anything.
34:59Thank you for receiving me.
35:03Sit down, please.
35:09I'll be brief, I won't steal a lot of your time.
35:12I just wanted to ...
35:14nuance it and explain how I feel
35:17about what happened in the warehouses.
35:21I'm listening.
35:24It's been many nights without your return.
35:26It's been many nights without sleeping.
35:31Many confessions and many hours in the church
35:34looking for comfort.
35:36And now I know that I am not to blame
35:38for what happened to that poor girl.
35:40Although maybe I am responsible.
35:48I am not to blame because I didn't want anything bad to happen to her.
35:52And I was not the one who sent her to work
35:54until she almost gave up.
35:56But I was able to speak up.
35:59And I was able to face my superiors.
36:02Well, you warned them, didn't you?
36:04But it was useless.
36:06And I will never forgive myself
36:08for having continued to work there,
36:10knowing that other colleagues were suffering.
36:14It's not easy to face the boss.
36:17No.
36:21Not all bosses are like you, Mr. Fermin.
36:24When people work driven by greed,
36:27like my former bosses,
36:29they don't listen to reason.
36:33But I could have given them an ultimatum
36:35and I didn't.
36:37May God forgive me for that.
36:39I didn't, Mr. Fermin.
36:42Well, well.
36:44It would be better
36:46if we calm down, Mrs. Lázaro.
36:48I promised myself I wouldn't set up a scene.
36:51I'm a fool, forgive me.
36:54Mrs. Lázaro,
36:56you have to learn to forgive yourself
36:59and not demand so much.
37:01You did what you could.
37:03Anyone else in your place
37:05wouldn't even have opened their mouth.
37:07You showed a lot of courage by speaking up.
37:10But it was useless.
37:12That's it.
37:14That's it.
37:15That's it.
37:17So stop crying.
37:19It's all clear now.
37:22I'm sorry
37:24I had to go through what happened,
37:26but it was my duty
37:28and my obligation
37:30to contrast the information.
37:32Of course.
37:34I would have done it with any employee.
37:37And about Teresa,
37:42I hope there won't be any more arguments between you.
37:45Understand that she acted
37:47guided by her sense of duty.
37:49That's all.
37:52So,
37:54if you are willing to forget
37:56this unpleasant incident,
37:58I, on my part,
38:00will be delighted
38:02to work again as a manager
38:04with immediate effect.
38:06Nothing would make me happier, Fermín.
38:09For everything to be like before.
38:15Everything...
38:19We'll see.
38:23For now,
38:25get back to work.
38:28They say that
38:30time heals all wounds,
38:32doesn't it?
38:37Thank you very much
38:39for giving me the opportunity to explain.
38:41No, there's nothing to thank.
38:43I'm glad
38:45you're among us.
38:49If you'll excuse me.
39:16I don't have rosemary.
39:18And without rosemary, the sauce won't be the same.
39:20Well, that's what the recipe says
39:22and I want to follow it step by step
39:24because I want it to be perfect.
39:26So I'll have to go shopping.
39:31Why are you so serious?
39:35Well,
39:37I don't like giving you so much work.
39:40No, no, but I do it with pleasure.
39:42If you don't believe me,
39:43I'd start cooking a new recipe
39:45that I don't like to cook.
39:47But it makes me happy
39:49to see you both like this.
39:51Besides, it's good for me to distract myself
39:53with Celia this week.
39:55Can you believe that now she says
39:57she doesn't know if she's leaving?
40:00Laurita, do you want me to help you?
40:02I'll go get the rosemary.
40:04No, no, don't worry.
40:06You stay here, drink wine,
40:08talk about your things.
40:10Today, I'll take care of everything.
40:11I'll be right back.
40:13Keep an eye on the fire.
40:15Bye.
40:29I still have to leave soon
40:31because I have to be at the closing ceremony
40:34at the cinema.
40:36Yes.
40:38Sure.
40:39I have to go.
40:42And besides,
40:45I feel a little out of place
40:48being here with you while your sister...
40:51Agustín.
40:53Please.
40:57I'm sorry.
41:09What's wrong, honey?
41:11Can't you get it?
41:13I can only think about that whore, Antonia.
41:16Well...
41:18She doesn't know what she's getting herself into.
41:21She looks like a marquis.
41:23Maybe she is, but...
41:29Forget about that.
41:31You have to focus on your future.
41:33That's what matters.
41:35Why don't you go to the study room?
41:37You won't concentrate here in the kitchen.
41:40Yes, that's true.
41:44By the way, could I talk to Susana's mother?
41:47Yes, and she made me very worried.
41:49She said Clarita had only been at her house one afternoon.
41:52What do you mean, one afternoon?
41:54I thought she went every afternoon.
41:56And me? I don't know. I'll talk to Matilde.
42:00I'll go. You go to the study room.
42:01You go to the study room.
42:08Good afternoon.
42:10Good afternoon.
42:12Can we talk?
42:14It depends.
42:16You and I only have one thing to talk about.
42:18You know what it is.
42:20Can I come in?
42:23Come in.
42:32I know I'm not welcome in this house.
42:35And I know I've given you and Pietro a lot of trouble.
42:39But I want to apologize for that.
42:42I don't want to bother you anymore.
42:45Look, I'm going to be very direct, Lucia.
42:48I'm very tired of this topic.
42:52Are you going to sign the annuity papers?
42:54That's all I care about.
42:56No, I'm not going to sign those papers.
42:58I'm not going to sign those papers.
43:02I'm not going to sign because I've already signed them.
43:29Operator.
43:31With the Excelsior, please.
43:36Good afternoon, I'm Fabio del Moral.
43:38Is it possible that Mrs. Bárbara de la Cruz is out there?
43:42No?
43:44How strange.
43:47No, no, no, no, no.
43:49You don't need to give her any message.
43:55You shouldn't have come.
43:56You shouldn't have come.
44:05Bárbara.
44:07I'm in the living room.
44:17Can you tell me what's going on here?
44:19Mr. del Moral, here is the registration order.
44:22It will be better if you notify Mrs. Bárbara.
44:24No, Mrs. Bárbara de la Cruz is not at home.
44:28It doesn't make sense to dilate this.
44:34I'm not trying to dilate anything.
44:37My name is not on this paper, so I have nothing to hide.
44:40I'm here because Mrs. Bárbara invited me to dinner, but she hasn't arrived yet.
44:44There's no one else in the house, then?
44:47As far as I know, no.
44:49No one.
44:50Not even Carla?
44:52Don't try to deny it.
44:54We are quite clear about where the house is hidden.
44:58Follow me.
44:59Excuse me.
45:15Mrs. de Morcuende, are you there?
45:19Mrs. de Morcuende!
45:21Carla!
45:28She's not here.
45:29But that's not possible.
45:31Someone had to tell her we were coming.
45:32I don't think so.
45:33It was this very afternoon when I decided to register the house.
45:39Inspector.
45:43Look.
45:45It's to put on wigs.
45:46And here's Carla's clothes.
45:47Maybe she's prepared to go out without being recognized.
45:52But...
45:54Where could that woman have gone?
45:56Is it possible there's another exit?
45:58It doesn't seem so.
45:59Mr. Peñalver, you know Mr. de Moral better.
46:02Would you mind coming with me?
46:03I want to question him.
46:04Of course, Inspector.
46:05Wait!
46:08Look at this shelf.
46:18It's locked.
46:31She's not here.
46:32We have to prepare a search operation.
46:34Come with me!
46:36Follow me!
46:48They're going to register the house, hand in hand.
46:50And the garden, too.
46:51If they're in any area of the house,
46:53you'd do well to say it now.
46:55Your words have a threatening tone
46:57that is very unpleasant.
46:59Besides, I have nothing to hide.
47:01Yesterday he practically confessed to me that Carla is alive.
47:04No, I didn't say that, Iñigo.
47:06He didn't say it, but he made it clear.
47:08What did he say?
47:09That she's alive.
47:10That she's alive.
47:11That she's alive.
47:12That she's alive.
47:13That she's alive.
47:14That she's alive.
47:15He didn't say it, but he made it clear.
47:17No, let's see.
47:18I'm responsible for what I say,
47:20not for what you understand.
47:22And honestly,
47:24I think it's a bit grotesque that you give it to him as an investigator
47:27as if you were here.
47:29Let's stop worrying, Mr. Del Moral.
47:32Tell me where Mrs. Bárbara and Carla are.
47:35It's better for everyone to turn themselves in now.
47:38I have no intention of worrying.
47:41I'm going to tell you everything I know.
47:43I'm going to collaborate with you.
47:44And I'm going to assume my responsibility.
47:46But unfortunately, at this moment,
47:48I have no idea where Mrs. Bárbara or Mrs. Carla are.
47:52So it's true?
47:55Carla is alive.
47:57And you knew it.
47:58No, I didn't say that.
47:59Iñigo!
48:00No, Iñigo, I...
48:01Iñigo.
48:04Look what I found in the basement.
48:07It's Clarita's.
48:09But what does a Clarita hat do in Carla's house?
48:11She has my sister.
48:12And this hat is hers.
48:14She wore it to church on the day of my mother's death.
48:16I know it perfectly well.
48:18And a few days ago she told me she couldn't find it.
48:21She has my sister.
48:23We have to find her.
48:29I have no reason to cover for Mrs. Bárbara.
48:32Fabi, to cut to the chase, where is Carla?
48:34At this time?
48:36At Altamar, on the way to America.
48:38You're very brave.
48:39But why?
48:40Because of everything you're doing to get your voice back.
48:44And besides, you're very lucky to have found Agustín.
48:47Someone who takes care of you and knows he won't leave you alone.
48:51I hope he gave the police all the information about the boat Carla is going with.
48:54I've told them everything I know.
48:57Is he going to Italy?
48:58Yes, of course.
49:00But is that true? Are you sure?
49:02Yes.
49:03He has nothing left here, right?
49:05Are you sure he won't lock you up?
49:06I've always treated all my employees equally.
49:09Well, if I've made any difference, it's because of their performance.
49:13But not because one seems more kind to me than the other.
49:16However, there are those who don't love me.
49:19Yes, I know, I know.
49:20Teresa and Cañete don't have it exactly, Lupe.
49:23I honestly don't understand why.
49:26Do you realize that right now I can be fired?
49:29Oh, please.
49:30You don't have to bring up events.
49:32Maybe Don Salvador didn't see you.
49:34What? He didn't see me? Of course he saw me.
49:37What's that smell coming out of the subway?
49:40It's the smell of the poor.
49:41Of course, because in the subway only the poor will smell, right?
49:44She's been there since her period.
49:46And she's holding Salvita's arm as if she were already married.
49:49Have you noticed anything strange?
49:51No, nothing. Is something wrong?
49:53It's just that lately she's been acting strange at home.
49:57Look, yesterday I organized a dinner with Agustín to thank her for everything she's been doing.
50:02And the atmosphere was very strange.
50:05Either you marry Vanessa, or La Fregona will pay for the duck.
50:08Are you the ones in charge of cleaning the turntable?
50:11Yes, ma'am.
50:12What can I do for you?
50:13Miss, what I'm asking is that you do your job well.
50:17Because that turntable isn't as it should be.
50:19Is there something you want to tell me?
50:22Nothing at all.
50:25Tell me, Teresa.
50:26What's worrying you?
50:28Look, it's not that I'm worried.
50:30It's just that it's a surprise for me to have it back.
50:34A pleasant surprise for everyone, right, Teresa?
50:37What if Fabio is lying?
50:40What if these two are here?
50:42In Spain.
50:43Even in Madrid.
50:45We wanted to tell you something that worries us a lot.
50:48Yes, it's just that Clarita has been coming to pick her up.
50:51And as far as I can see, she's alone.
50:53Not with Susana's mother.
50:56On her own.
50:57Yeah, Clarita told me something.
50:59You have to get her involved, Matilde.
51:01Yeah, Antonio.
51:02It's just that I don't like scolding her about everything that's happened.
51:05No matter how much has happened.
51:06She can't go around whining and not noticing anyone.
51:09She's still a child.