Category
🎥
Short filmTranscript
00:00It doesn't make sense to resort to violence.
00:05The worst punishment you're going to get is to be the way you are.
00:09I wouldn't change for any of you, not for a moment.
00:12It's a beautiful ring.
00:14Yes, it wouldn't have been cheap.
00:17What else does money give, Laurita?
00:19It's the least I could give Lazaro in such a difficult moment.
00:23I don't know.
00:25What else does money give, Laurita?
00:27It's the least I could give Lazaro in such a difficult moment.
00:31I don't care about Mr. Lazaro anymore.
00:34Do you really mean it?
00:35Because, to me, what are you saying with your little mouth?
00:38I don't want any more conflicts, Trini.
00:40For the money you owe me, come on.
00:41I think Celia is right.
00:43It's not fair that we continue like this.
00:45It's just that I don't have the strength to talk to her.
00:49Nor to stop feeling what I feel for you.
00:51What can I do for you to give me another chance?
00:54If you sell the gallery to Mr. Fermin, to Agustín,
00:58and to the other businessmen who are interested in the purchase,
01:01that would see it as a gesture of goodwill.
01:04No, no.
01:06For me, it would be an humiliation.
01:08Are you indifferent?
01:09What do you mean indifferent? It's Esperanza.
01:11What do you mean?
01:12I don't know what to tell you, Trini.
01:15Well, well, well, that's it, that's it, man.
01:17It gives me the nose that they don't hide anything.
01:20Are you going to lead a double life with both of them?
01:22Does that amuse you?
01:23No, that would be the last thing I would do.
01:24You have to tell Laura.
01:26And if she doesn't, I'll do it.
01:29What is this?
01:30Money.
01:31A good amount.
01:33A waitress can be as poor as a rat,
01:35but as proud as a Marquise.
01:37And with enough money to tell her to go with her money to get wind.
01:41I have a friend who made a fortune in Argentina
01:43and now wants to settle in Spain.
01:45And he is looking for profitable and very safe investments.
01:50Here, in Madrid.
01:52And I understand that if your friend is someone to trust, totally.
01:56Emiliano Pedraza is a good guy and I trust him completely.
01:59He has given me a whole life lesson.
02:01So, he's not going to ask you to fire her?
02:04Of course not.
02:06In fact, you have my blessing.
02:08I wanted to thank him.
02:10Thank me for what?
02:11For putting me so many tricks since I came to work here.
02:15Thanks to that, he made me even stronger.
02:17Thank you very much, Teresa, really.
02:19Shall we go to the theater later?
02:21It looks like pearls.
02:23For a day that we leave early and at the same time,
02:25we can't stop wasting.
02:27It is clear that our manager and our head of waiters are together.
02:32No, no, this can't be true.
02:34It can't be happening to me.
02:35Tell me it's not true.
02:37I'm sorry.
02:38You won't feel anything.
02:40And the reward will be huge.
02:42When we reach heaven, our mothers will be waiting for us with open arms.
02:47And finally, we can be happy forever.
02:51Are you sure I'm coming back with my mother?
02:55As sure as you could talk to her thanks to the magic stamp.
03:11Hello.
03:12Hello.
03:14Are you still working?
03:16I'm reviewing the notes of the meeting with the Association of Writers.
03:20You can see what their job is.
03:22They don't lack imagination when it comes to asking for acts and tributes for their celebration.
03:32Have you heard the latest news about the wedding?
03:37About Don Fermín's wedding?
03:39What news!
03:42When they told me, I was stunned.
03:46Well, it's not that strange.
03:47Don Fermín is still young.
03:49No, no, no.
03:50I'm glad for him, but I didn't expect it.
03:54Until recently, I didn't think about marrying you.
03:59It seems you didn't do badly.
04:02I can't complain.
04:12Look.
04:14I think that when Don Fermín changed the rule that his employees couldn't get married,
04:20they couldn't imagine that he would end up going to church in the arms of one of them.
04:26Well, maybe he had already cast an eye on Mrs. Lázara.
04:28No.
04:29And he removed the prohibition with all intent.
04:32He didn't even expect Mrs. Lázara's wedding.
04:38By the way, where is Clarita?
04:41With her friend, Lara.
04:43Ah.
04:44The truth is that since she's been with that girl, I see her better.
04:48Well, yes.
04:49It's a good thing they met.
04:52She is being a very good influence for her.
04:54She has contributed to the peace in this house.
04:57Can we say that we are a happy family?
05:04And we would be more if we expanded it.
05:12You mean that...
05:13So far we haven't had time to think about it.
05:16No?
05:17Well, you know that I love kids.
05:20What happens is that I thought that you were the one who had to choose at the time.
05:25Are you thinking about it?
05:28I'm fantasizing about the idea.
05:30Can you imagine a couple of kids running around this living room?
05:35Clarita would be like an older sister.
05:37Disciplined and affectionate.
05:39It's enough not to be able.
05:40Well, the five, the six, or whatever we are,
05:44we could spend the Sunday afternoon at the retreat.
05:47We could buy some boats.
05:49We buy some boats and then we could go rowing there in the pond.
05:53And I say that they are very small.
05:55Let's see if they are going to fall into the water.
05:56Forgive me to tell you, but my children will know how to swim like dolphins.
05:59Like dolphins.
06:00Or like mermaids.
06:01Maybe we only have daughters.
06:03We don't have children and we are already discussing their education.
06:06Look.
06:08Are you sure we would agree on everything?
06:11I'm sure.
06:13And when that time comes, we will be very happy.
06:27Well, I'm going to brush my teeth and get comfortable.
06:37Bye.
07:07Bye.
07:37Bye.
07:38Bye.
08:07Let's see what our love poem wrote.
08:30What did I tell you, Clarita?
08:34Is this a magical place or not?
08:38Yes, it is.
08:48That's why I wanted to be completely honest with you, Clarita.
08:57You see, I'm often afraid that they won't accept me.
09:06That people don't appreciate me and don't want to be with me.
09:11That's why I often dress up to feel safer.
09:18You dress up?
09:20Yes.
09:32I'm actually like that.
09:34Hello.
09:37You remind me a lot of someone.
09:40But now I don't fall.
09:47With the wig I feel protected.
09:50It's like...
09:52It's like wearing an armor.
09:54Do you understand?
09:56I think so.
09:58It's like when I put on my favorite dress.
10:01Do you know that in those moments I always feel much better?
10:06Do you feel better when you wear the wig?
10:09Yes.
10:10Yes.
10:13I was very afraid that you wouldn't understand that, that you'd get mad at me, but...
10:20I've realized that I don't have to be afraid of you.
10:22Being with you is like...
10:25It's like being with my mother.
10:28I loved her a lot.
10:34And you?
10:36Yes.
10:38A lot.
10:42Look.
10:48You loved your mother more than anyone in the world.
10:55Yes.
10:56But I also love my brothers a lot.
10:58Especially Matilde.
11:00Well, Clarita, I think you're doing it wrong.
11:04Because Matilde really loves Íñigo.
11:07You told me that yourself.
11:12That's why it's good for you to want to be with your mother.
11:16Because there will come a time when Matilde will return all her love to Íñigo.
11:21And you...
11:22You'll be alone.
11:25Don't you think that Matilde has already forgotten about your brothers?
11:29But...
11:31I've never forgotten about them.
11:35And that's admirable.
11:38You'll have to tell your mother.
11:43But we're not in a hurry now.
11:45Today, we can stay here as long as you want.
11:50Looking at the sky.
11:52Appreciating its beauty.
11:55And so you can also think about what you're going to do when you see your mother.
12:00I'm going to hug her.
12:02And I'm not going to let her go for a long time.
12:04Besides, I don't think I'm going to scratch her.
12:09You do very well.
12:17What about school?
12:19I have to go back to school, right?
12:23Don't worry about that, Clarita.
12:27I've already taken care of that little problem.
12:43Well, boss. Let's see, for table four.
12:46Two cuts, a crack and...
12:49And I can't do it anymore.
12:52Man.
12:53I can't do it anymore. Is it a new type of coffee?
12:55Or are you telling me that by this time in the morning you're already exhausted?
12:58No, what I'm telling you is that how well you had it yesterday, huh?
13:01Congratulations.
13:03Have you had anything today?
13:04Not yet.
13:05But it would be nice if you invited something to celebrate that you already have in the boat.
13:11First, lower your voice.
13:13Secondly, I don't know what boat you're talking about.
13:15Well, what boat am I going to talk to you about?
13:17About the boat of the rainbows.
13:18It seems to me that I'm a little disgusted.
13:20Disgusted, why?
13:21Because you didn't tell me and I had to find out for someone else.
13:23And that's very ugly, boss.
13:24With the confidence we have.
13:26But it's okay, because I forgive you.
13:29Wow.
13:30Thank you very much.
13:32But...
13:34Could you tell me who gave you the blow?
13:37You say the blow, but not the blower.
13:39And what you would have to do is shout, proclaim to the four winds your love, because that's what they celebrate.
13:45Look, Elias.
13:46Yes.
13:47Look, Elias.
13:48Yes.
13:49I'm just going to ask you to be discreet.
13:50Well, you know that's in my nature.
13:52And don't spread the rumor.
13:54You have it for now.
13:56We want to keep it a secret.
13:58It would be a grave.
13:59You can count on it.
14:07Hey, Elias.
14:11Could you open the grave a little and tell me how you got the information?
14:16No, because then you wouldn't be able to trust me.
14:19Besides, if Mrs. Lázara finds out, we've already messed her up.
14:22Wait, wait.
14:24Did you say Mrs. Lázara?
14:25Mrs. Lázara?
14:26Who said Mrs. Lázara?
14:27I said that if she gives me a straw, we've already messed her up.
14:30Don't hide it, it's going to be bad for you.
14:36The vampire is very smart.
14:37Let's see, is it because you say it?
14:39Because my lips are sealed and my grave and I tell you.
14:42Well, look, yes, Elias.
14:44Between Teresa and I, there's something.
14:46And we're going to celebrate it big.
14:48You and me.
14:49See?
14:50As soon as you say something, the celebration is over.
14:52And maybe the grave thing is no longer just a metaphor.
14:55Well, I don't give a damn about the next two orders and I'm not able to keep a secret.
14:58Don't tempt fate, don't tempt fate.
15:02Look, I'm going to give you a vote of confidence.
15:06But you, Chitón.
15:08And above all, normality.
15:10Of course, Chitón and normality.
15:13But I have to tell you something.
15:15I'm very excited that you're finally with the woman you love, Callete.
15:19A hug.
15:20Elias, Elias, Elias.
15:21Yes, tell me.
15:22I've told you normality and that you hug me at work is not very normal.
15:25No, but I'm very excited.
15:27Yes?
15:28Yes.
15:29Well, look, take that emotion.
15:30Yes.
15:31And you're going to attend to Don Cipriano, who just came in.
15:34Go.
15:35Well, I'm going, I'm running.
15:37See you later.
15:44And I don't know.
15:45Clarita seemed very happy when I left her at the school door.
15:49Well, maybe she would have a friend or some activity that would make her especially excited.
15:54The fact is that later I'm going to give her a surprise.
15:56I'm going to pick her up and I'm going to take her to her friend Lara's house.
16:00Well, look, the truth is that it's been a while since you've contacted each other.
16:02Yes, because I spend a lot of time with her and she doesn't stop talking about Lara.
16:07The truth is that it's strange that you haven't met yet.
16:10Strange that you haven't met yet.
16:14What a punctuality in the studies, gentlemen.
16:16Sorry for the delay, I beg you.
16:18No, you don't have to apologize for anything.
16:20Well, it seems to me that we are going to focus on the subject.
16:23I don't want to make cuts, but today I have a very tight schedule.
16:27Of course, I just wanted to inform you that I have already carried out the management
16:31and I have closed the last details of tomorrow's event of the Association of Writers.
16:35Great.
16:36Yes, and from now on, Teresa and Mrs. Lázara will take care of the rest.
16:42Thank you very much, Matilde, as efficient as always, and concise, which is to thank you.
16:46For my part, I wanted to tell you that I have drawn up a plan for the acquisition of the gallery.
16:56You tell me.
16:57And if everything goes as planned and the signature is produced,
17:00we will celebrate it with all our heart, even hiring a post-it orchestra.
17:04And you, of course, Matilde, will be in charge of managing it.
17:08Excuse me, Fermín, but could you tell us what that plan is?
17:11Because the truth is that I'm disgusted.
17:13The plan is very simple.
17:15It is about Emiliano Pedraza buying the gallery.
17:22And who is Emiliano Pedraza? Because it's the first time I've heard of him.
17:25He is a good friend, a successful businessman, a tenacious, intelligent and very ambitious man,
17:30both personally and professionally.
17:32Excuse me for insisting, Mr. Fermín, but what is the strategy to follow?
17:36Well, as long as I have a meeting with Mrs. Bárbara in a while,
17:40and hopefully, hopefully, she has the reaction I expect.
17:45Because otherwise we would be in the hands of any ungrateful person to whom Mrs. Bárbara wants to sell her properties.
17:52I cannot guarantee the success of the operation, but nothing better has happened to me.
17:57Everything happens because Mrs. Bárbara gets involved.
18:02Do you see it as possible?
18:04I see that woman capable of not even renewing the rents and leaving the gallery deserted.
18:09But I don't want to lose hope.
18:12I am very sorry that my bad relationship with Mrs. Bárbara has made the negotiations difficult.
18:17You have nothing to regret, Inigo, for God's sake.
18:20But if Mrs. Carla is on her way to America, there is nothing that keeps Mrs. Bárbara here.
18:25The normal thing is that she is in a hurry to sell.
18:28And that is our great weakness, Matilde, and in which I trust blindly.
18:33But of course, nothing is normal with that woman.
18:39A month later.
18:52You don't have to thank me for accompanying you or letting you sleep at home.
18:58I didn't want to bother you, but after what Agustín told me, I didn't want to see my sister.
19:05You don't have to give me any explanation.
19:07You know I would do anything for you.
19:10Especially in these circumstances.
19:13And now you tell me that I should have stayed with you.
19:18I would never do something like that.
19:21I don't think it's right to try to benefit from people's bad moments.
19:26Especially if these people are my friends.
19:30I'm here to help you, Laura.
19:32Not to compare you.
19:36What I would like to know is why Agustín decided to tell me precisely yesterday and precisely in the gramophone store.
19:46Do you know something?
19:51What am I going to know, Laura? I don't know anything.
19:54Celia, you just told me that you are here to help me. Please, if you know something, tell me.
20:00Okay.
20:02I saw them.
20:04I saw Agustín and your sister kissing.
20:07I told them that either they told you something or I told you.
20:12So if it weren't for you, they would continue to deceive me and act behind my back.
20:19I don't know. Laura, I don't know. I think they would have told you in the end.
20:24They both love you very much.
20:26There's no way they can prove it to me.
20:38Laurita, you're back.
20:42What? You didn't have enough with yesterday? Today we have to go back to show you the photo.
20:45I need to see the photo to be able to buy the frame.
20:48But yesterday I already gave you the measurements when I left work.
20:51That's right, Trini. With the paper of the measurements in my hand, I went to the store and you don't see how many frames I saw.
20:57I need to go back to the photo to see which one is the best.
21:00I don't know.
21:02I don't know.
21:04I don't know.
21:06I don't know.
21:08You don't see how many frames I saw.
21:10I need to go back to the photo to see which one is the best.
21:13Well, if it's giving you so much trouble and so much work, you might have to think of another gift.
21:17A plant, for example.
21:19Let's see, can you turn it around?
21:21Esperanza, for God's sake, how are you going to touch it with your hands? You have them dirty.
21:24Man, what are you going to spend on touching it so much?
21:27Oh, Trini, for God's sake, you're exaggerating.
21:29I just wanted to make sure that...
21:33What? What? What did you want to make sure of?
21:36Well, I don't know, that there's something strange.
21:38Come on, even Elías has noticed.
21:41Well, of course, and he's going to trust Elías. He always sees something strange everywhere.
21:45If he's with Elías, he's a weirdo.
21:47Right?
21:48Well, you'll know how much trouble you have with that photo.
21:52Come on, if you want to tell me, tell me.
21:54And if you don't, come on, tell me.
21:56Well, nothing.
21:58It's settled.
22:00No, it's not settled, Miguel.
22:02Esperanza is absolutely right.
22:04You're hiding something.
22:06And it's time for you to let it go.
22:08We're in command.
22:10Hiding what?
22:11Well, I don't know.
22:12For a guy like me, a limp, who notices right away,
22:16he quickly realizes that there's something strange in that photo.
22:18And not just in the photo, but in the wedding, in the prolegomena, and in everything else.
22:22Come on.
22:23Since we're talking about everything else, in general,
22:26do you know who I spoke to yesterday?
22:28With my mother.
22:29And she says she sends her regards.
22:30Really, Trini?
22:31Yes.
22:32But what a joy.
22:33She says she remembers you a lot.
22:35Oh, my mother, what a thrill.
22:37Well, don't surprise me, because I'm a gentleman who leaves his mark on ladies.
22:40And especially on a lady like her.
22:42She's an extraordinary, fascinating woman.
22:44Well, and she also says she loves photographs and that she wants a copy.
22:48Well, I just can't agree with your mother anymore.
22:51Yes, well, in fact, I would also like a copy, if possible.
22:54Well, no, no, it's not possible, because we're only allowed to make a copy,
22:58and it's for my mother-in-law.
22:59Understand that.
23:00Yes, yes, I understand that, clearly.
23:02Because that woman deserves a copy of whatever she wants.
23:04Yes, yes.
23:06Well, I'm going to work, I have work to do.
23:08Come on.
23:09Trini, if you talk to Mrs. Leonora, well, to your mother,
23:12give her memories of me, but very loving and well felt.
23:15Yes, I will.
23:16Okay, thank you very much.
23:17See you later.
23:20Very well played by your mother.
23:23But if you mess up again, the only photo you're going to see is your tombstone.
23:33Estrellita, Castro has called here because he wanted to talk to you urgently.
23:37He'll call you at the store in a few hours.
23:40Thank you very much, Inés.
23:42I'm going to leave you alone.
23:43No, no, stay.
23:47Laurita, I've been nervous all night,
23:51since Celia told me you were staying at her house.
23:54And that you wanted me to sleep here, with the woman who understands,
23:57with the man I love.
23:59No, really, I don't get along with Agustín.
24:02Inés, please, don't treat me like an idiot.
24:05Agustín told me, at least be brave and accept it.
24:09Laurita.
24:10No, no, don't come closer.
24:11Please leave me alone.
24:12Go.
24:14Go.
24:29And I had thought of accompanying the desserts with a glass of oporto,
24:33so that it is a detail and a touch of distinction.
24:36Perfect.
24:37Yes, it is important to take care of customers and guests.
24:40In our house, a good wine will never be missing,
24:43for special moments.
24:45Totally agree.
24:46And so that my future husband will dazzle his work meetings.
24:49Future? Future husband sounds good,
24:52but I'm dying to take the future necklace off him.
24:58Let's go.
25:04Fermín, how do you imagine our wedding will be?
25:07As you want me to imagine it.
25:10Well, I don't need big things.
25:12If it has to be simple, let it be.
25:14All I want is for us to always be together.
25:16And that modesty honors you,
25:18but what woman doesn't like the feasts of weddings?
25:21Well, yes, but I don't want you to spend any money either.
25:24And that honors you even more,
25:26because I'm not going to repair it in expenses.
25:28You're going to have the wedding you deserve.
25:30And I don't do it just for you, I also do it for me.
25:33That one does not get married every day,
25:35and less with such an intelligent,
25:40attentive and beautiful woman like you.
25:45Now we just need to think about the date of the wedding.
25:48I leave the rest in your hands.
25:52Yes?
25:54Excuse me.
25:56Come in, come in, Mrs. Bárbara.
25:58Mrs. Lázares, excuse us, we have a matter to discuss, the lady and I.
26:01Of course, excuse me.
26:06What will you say, Mr. Fermín?
26:07Sit down, please.
26:16But sit down as a woman and make me company.
26:18No, Salvita, I've already told you that it gives me things to sit down as if I were a lady.
26:22Besides, standing like this I also make you company.
26:24As you wish.
26:27By the way, did your father tell you anything about returning the money?
26:31Yes, that you're like a whore.
26:34No, no, no, no, no, no.
26:36I mean, if that's what you want, go ahead.
26:41I don't know what you want.
26:44And well, it's true that I didn't expect him to behave the way he behaved
26:49and to accept our relationship.
26:52I was also surprised.
26:54It's normal not to be aware of someone else's.
26:57But I saw that he couldn't buy you
26:59and he gave you his third arm, because that's what he wanted, to buy you.
27:03It's true that he said you had touched his heart, and that's not easy.
27:07But, I don't know, it's too easy.
27:10My father is weird.
27:11What do you think?
27:14I don't know, my imagination, I guess.
27:17Well, you know what I'm telling you?
27:19That one has a lot of world and it's better not to ring the bell on the flight.
27:23What do you mean?
27:25Well, it's not necessary to make a band to tell what's ours, right?
27:29What's between us can stay between us for the moment.
27:33I think it's good, yes.
27:37So, you didn't get what you wanted and you're almost like at the beginning.
27:42Are you already checking, Esperanza?
27:44No, woman.
27:46I was looking for you to warn you to move your butt to win the panel.
27:51But I accidentally heard what you were saying.
27:57You should know that we're not like at the beginning, as you say.
28:01That's true.
28:02Now we're much better.
28:05Well, a little bit better.
28:07I don't see it so clearly, because instead of moving forward,
28:10it looks like you're going around in circles.
28:12Circles? What circles?
28:14Let's see.
28:15As far as I know, you can't tell anyone that I'm your boyfriend.
28:19Doesn't that mean that Don Salvador went out with your girlfriend?
28:25You're right.
28:32I'm going to talk to my father and I won't stop until he blesses us.
28:43Oh, if it weren't for your fairy godmother, which is me.
28:47Come on, let's go to work.
28:56Well, and that would be the proposal that we can make to the gallery's businessmen
29:00for the acquisition of their premises.
29:03Tempting, there's no doubt.
29:05And I wouldn't like them to think that I'm pressuring them.
29:10And if you try it, it's in your interest,
29:12as I am in mine, to reaffirm my position.
29:16I hope you understand my resounding negative.
29:18Certainly...
29:19Let me finish.
29:21If you have any questions, you'll see how I understand it perfectly.
29:27Do you want me to have the slightest interest in favoring the people
29:31who have ruined my daughter's life?
29:33Ma'am, I'm not going to consent to it.
29:35I don't need your consent at all.
29:38You are part of that plot.
29:40And if I were Gallardia, I would admit it.
29:43Or didn't you have dealings with Inigo Peña Albert?
29:46And did you even allow him to represent you in the negotiations?
29:49I think I can't be responsible or guilty of what happened to your daughter.
29:53I can.
29:54Of course I can.
29:56Just as I can prefer to see this gallery turned into a solar
30:00a thousand times before negotiating with you.
30:03It seems to me that you are not in a position to become the victim
30:06after being an accomplice to the deception your daughter committed.
30:10Pretending your own death is of an extraordinary low.
30:15And that has led you to run out of allies.
30:18If you sell the gallery to Don Fermín, to Agustín
30:22and to the other businessmen who are interested in the purchase,
30:25that would see it as a gesture of goodwill.
30:28No.
30:29For me it would be an humiliation.
30:32In no way can I go through that.
30:35You see?
30:36I imagined a similar answer.
30:40You can't change. You'll never do it.
30:44Goodbye, Barbara.
30:46I don't need allies.
30:48I have enough and I have plenty to defend my own interests.
30:52Very well. Perfect.
30:55But be very clear that you will not be able to sell the gallery to anyone,
31:00much less being in my tea room in the lot.
31:03And being in force, how are the rent contracts of the bookstore and the cinema?
31:08We'll see about that.
31:10And believe me if I tell you that I will not make any more attempts to convince you.
31:15It's good not to waste any more time.
31:18Because you already know my answer.
31:22Goodbye, Don Fermín.
31:33Goodbye.
31:47If you are looking for Laura, she is not here.
31:50It's just that we need to talk to her.
31:54The only thing I can do is tell her when she comes.
31:58If she comes, because she is very affected.
32:03I won't go to rehearsal until I talk to Laurita.
32:06Has she stayed in La Bordilla?
32:11But it's better if you don't go, Inés.
32:13She is very down-to-earth and angry. She needs to be alone.
32:17Yes, but we have to explain to her that everything that has happened has not been premeditated,
32:21that we did not want to deceive her.
32:27I was not very right when I told Laura about the situation.
32:32But I felt very pressured.
32:35Pressured? You put the pressure on yourself when you kissed.
32:38I don't say anything to see you.
32:42And I'm not going to get into feelings.
32:44I know better than anyone that the heart plays bad tricks
32:47and makes you fall in love with the wrong person.
32:50But I also know that in these cases you have to face it and assume the consequences.
32:55Yes, but now we have to find solutions, Celia.
32:58And for that we have to talk to Laurita.
33:00So please tell us how we can do it.
33:04And what am I going to know, Inés? I have no idea.
33:07But you have been with her the last few hours.
33:09That's why. That's why I can't give you any advice.
33:14Laura feels that you have done something terrible to her.
33:17And right now unforgivable.
33:22Excuse me.
33:26Tell me.
33:27Estrellita, what a joy!
33:31No, no, no, no. I understand the delay perfectly. Nothing happens.
33:37What?
33:39He wants to send me a note here in the store.
33:48Yes. Yes, yes, yes. Send it.
33:52Thank you very much, Estrellita. A kiss.
33:56Is something wrong, Celia?
34:03I'm going to Germany in three days.
34:06But that's excellent news.
34:09Yes, it is.
34:11But not so much in these circumstances.
34:26Marta, wait.
34:28Lucia, how are you?
34:30Busy, packing all my things. You can imagine.
34:34When are you leaving?
34:36Tomorrow. I'm going to Barcelona and then I have a few more trains to catch.
34:43If what you want to know is if I'm in the mood, I'll tell you that I'll be fine in Italy.
34:48Don't forget that I have my son Giancarlo there.
34:51And a lot of life ahead.
34:53Well, I'm glad you're so excited, Lucia.
34:56Well, but before I leave, I wanted to tell you something.
35:00I wanted to thank you.
35:02For your understanding and for your company.
35:04For how well you treated me, Marta.
35:07You don't have to thank me for anything, Lucia.
35:09I only did what I thought I should do.
35:12Well, thanks to you, you can say that Antonia and I are even friends.
35:17I'll never forget that you were the first one who stopped turning your back on me.
35:24Here.
35:26What's this?
35:28A gift. A little detail I wanted to have with you.
35:34Open it.
35:36A notebook?
35:37Yes.
35:38Well, actually, the gift is not the notebook.
35:41It's what's written inside.
35:43All the Italian recipes I could remember.
35:47In his day, they helped me with Pietro and...
35:50I hope that now they can help you.
35:54I don't know how to read.
35:56I don't know how to write.
35:58I don't know how to write.
36:00I don't know how to write.
36:02I don't know how to write.
36:05I don't know what to tell you, Lucia.
36:08Thank you very much.
36:09I've told you many times, but...
36:12But thank you, really.
36:14Well, well, she'll thank me and give me the result.
36:17Oh, and I have something else for you.
36:19I brought it to the post office this morning.
36:22And since Antonia wasn't there, I picked it up.
36:27It's the exam grades.
36:29Oh, I can imagine.
36:31Don't open it, so we can celebrate.
36:35What if they're bad, Lucia?
36:37But, Marta, how can they be bad?
36:42Do you know what I would do?
36:44I would open them with the guy from the bookstore.
36:46So he would be the first to find out.
36:49Well, the first behind you, always.
36:54No?
36:56So you would break up with Vanessa?
36:59Yes, Miguel.
37:01I think it's wonderful.
37:02Soft, soft, incredible, but true.
37:04Yes, but your father was determined.
37:07Hey, why is there so much interest?
37:09Interest? No, none.
37:11Well, the one you can have for someone you value,
37:15and he's your boss' son.
37:18Well, yes, it's fine. Yes, I'm interested.
37:20Because your father told me he would give me a promotion
37:22because he was convinced that I had promoted your engagement with Vanessa.
37:27And more or less, he told me to keep an eye on everything
37:30so that everything would go well.
37:31He also specified for the good of everyone.
37:34That's what my father told you?
37:36With those words, I already knew that neither good nor bad,
37:38that it was not going to go to any port
37:39because you are for Marta and not for Vanessa.
37:42So I'm a dead man.
37:43Or, if you prefer, I'm a man who hasn't ascended.
37:45Or, if you hurry, I'm a fired man.
37:47Well, well, well, relax.
37:49Miguel, don't get dramatic.
37:51Look, I'm going to give you some good news.
37:53My father has accepted my relationship with Marta.
37:55Yes, I already knew that this was going to end in disaster.
37:57I already knew that ...
37:59Did you tell him what you heard?
38:01That he has given us his blessing and he is delighted with us.
38:05I can't believe it.
38:06Yes, yes.
38:07There is something left to clarify, but he has not put glue.
38:12But that is excellent news!
38:14I can go back to the position of manager of the bookstores!
38:17Salvita!
38:19What I mean is that the excellent news is that you can be with Marta
38:22and the manager thing is a possibility.
38:26What? Maybe.
38:27If you want to know more about that matter, you will have to talk to my father.
38:31By the way, look around.
38:38How are you, Salvita? Everything in order?
38:40Yes, father.
38:41Have you had a snack?
38:42If not, don't leave it for later.
38:44Eating properly is essential for a good health.
38:48That, that.
38:49Ah, hello Miguel.
38:50Good afternoon, Don Salvador.
38:52Father, I would like to have a moment to talk alone.
38:54It's about the relationship with Marta.
38:57Perfect, perfect.
38:58You first a snack and then later we will look for a place to talk.
39:03Goodbye, Salvita.
39:11I, Don Salvador, would also like to talk to you.
39:15Now that the life of your son is at stake for your satisfaction,
39:18shouldn't we talk about that promotion he proposed to me at the time?
39:27If you'll excuse me, I'm going to have a snack too.
39:43Come in, it's open.
39:49Antonio, is Clarita here?
39:51No.
39:53She's not in the corral either?
39:54No, I don't think so. What's going on?
39:56Well, I can't find her, Antonio.
39:58I went to look for her at school and they told me that they haven't seen her all day.
40:01And I took her this morning.
40:02Well, maybe she's at her friend Susana's house.
40:05No, neither.
40:06Because I found her when I left school and she told me that she hasn't seen her either.
40:09And then I thought that maybe she was with her friend Lara.
40:12And neither.
40:13No. And besides, nobody at school knows who she is.
40:15Neither her teachers, nor her friends, nor anyone.
40:18Antonio, has something happened to her?
40:20No, no, no. No, wait.
40:24I'm sure nothing has happened to her.
40:26Don't worry.
40:28And maybe she's at that Lara's house. Do you know where she lives?
40:31No. Neither me, nor anyone.
40:33There's no way to find her.
40:34And that's why I thought that maybe she was here with Marta.
40:37No, no. Marta is working at La Moderna and she left this morning and she hasn't come back since then.
40:41But how come she hasn't gone to school all day?
40:46Well, because she has presented some justifiers supposedly signed by me.
40:50And I haven't signed anything.
40:51Neither has she, because this isn't her handwriting.
40:53Look.
40:56But there's more.
40:57What?
40:58It's not the first time she's done it.
40:59She has done it on other occasions, Antonia.
41:03Please, Antonia.
41:05I'm asking you, please, to help me. I don't know where she could be.
41:08I don't know, honey. I don't know her habits. I don't know.
41:11Really, where could my sister be?
41:13Why don't you call your brothers? Maybe they know a place that you don't.
41:17Yes, or maybe, I don't know, she's somewhere where she was hiding, here in La Corrala, I don't know.
41:21Of course.
41:22Yes, we should ask.
41:24Okay.
41:25I'll call my brothers and then I'll go out to look for her.
41:27Antonia, please, ask in La Corrala if anyone knows that Lara or has seen my sister with a girl these days.
41:33Yes, yes, I'll take care of it.
41:34Don't worry.
41:35Keep calm, I'm sure she'll be fine.
41:42This girl...
41:50You know, if my mother were with us, I'd ask her to take me to the river.
41:55To see the sunrise, like we did so many times.
42:01And you, what would you ask her?
42:05That we go together to Los Pinos Park.
42:11That we play tag.
42:14That she would sleep with me and stay until I fell asleep.
42:20And that she would make croquettes for dinner.
42:33Hey, do you think I'll be able to make croquettes in heaven?
42:38Of course.
42:40You can do anything in heaven.
42:44And you'll be as happy as before.
42:47Were you happy too?
42:49Yes.
42:51But now I'm going to be happier.
42:53Because I'm going to meet my mother.
42:56Like you.
42:58I have to go.
43:01Why?
43:03Because it's getting late.
43:05I haven't told my sister that I was going to sleep outside.
43:09But Clarita, if you go home, maybe Matilde won't let you come back here.
43:14And then you won't be able to meet your mother.
43:18I have everything ready for us to spend the night.
43:24Do whatever you want.
43:28If you prefer school and your life as a lie,
43:30to meet in paradise with your mother and be happy forever,
43:33it's up to you.
43:36I'm going to stay here.
43:39And if necessary, I'll travel alone.
43:44No.
43:46I'm staying with you.
43:57I'm glad you're doing well in Seville, Jacobo.
44:01Yes.
44:02I'm sorry, but I have to go. We'll talk later. Bye.
44:08Hey.
44:10I was waiting for you.
44:12Any news?
44:13A lot.
44:15And they all hope that the suffragette event will be a success.
44:19The first is that apart from Clara Campoamor and Victoria Ken,
44:22she's also going to participate with Chamedez.
44:26That's good news.
44:27And not just her.
44:28Other members of the Lyceum Club and women defenders of universal suffrage
44:31have also confirmed their attendance.
44:34But there's more.
44:35More?
44:36Some media want to cover the event.
44:39But this is going to be a big event.
44:42The problem is that I won't be able to contact the missing people.
44:45That's why I've made two lists.
44:49One with illustrious women who haven't confirmed their attendance yet,
44:53and the other with newspapers that either haven't given me an answer yet
44:57or I haven't been able to talk to them yet.
45:00Wait, wait.
45:01What do you mean you won't be able to take care of all this?
45:05I spoke to Estrellita Castro today.
45:08And I'm going to Germany in three days.
45:11Wow.
45:12Yeah.
45:14Congratulations.
45:16I still have to prepare a lot of things for the trip,
45:19but I'll go to this afternoon's event.
45:21I'm twice as happy.
45:22And I reiterate my congratulations.
45:23In addition, you're going to go through the big door,
45:25through the event organizer's room here, in Madrid Cabaret.
45:33Do you want to tell me something?
45:38No.
45:41It's just that even though I haven't been here for a long time,
45:44I've made great friends, like you.
45:49And I'm sorry to leave the people I feel so much love for.
45:55I understand.
45:57But Celia thinks that her future is at stake.
46:02And maybe, at some point in that future,
46:05she'll be able to meet those people she loves so much again.
46:16It's the end, Trini.
46:17The end.
46:20Come on, don't be an exaggeration.
46:21It's not the end, man.
46:22It's not the end.
46:23Besides, as long as there's life.
46:25There's no life.
46:27You haven't seen how Don Salvador looked at me.
46:29He pierced me with his gaze.
46:32The thing is,
46:33I had the feeling that he was for the work of Salvita and Marta,
46:37and I've allowed myself to put in some merits,
46:39and I've put my foot in the grave.
46:41Well, my son, you don't have to turn him so many times.
46:43That's it.
46:44Besides, he still hasn't told you no.
46:46No, but he will.
46:47And worse.
46:48Because I've seen the word farewell tattooed on his forehead.
46:50It's just that I understand it less and less.
46:52I don't know what's in Don Salvador's head.
46:54It's getting more and more unpredictable.
46:56I can see it.
46:58Is something wrong with you?
46:59Well, yes, it is.
47:00Of course it is.
47:01It's just that I'm in pain.
47:03And you just can't stop giving me a hard time.
47:05All the time.
47:06All the time.
47:07And I can't take it anymore.
47:08Do you understand?
47:09You just don't listen to me, son.
47:10Woman, don't say that.
47:11Don't say that.
47:12No, I'm telling you.
47:13I'm telling you.
47:14Because this gut doesn't stop growing.
47:16And on top of that, my ankles are going to burst one of these days.
47:19And in the modern world, I have to act as if nothing happened.
47:23I understand you perfectly.
47:25What are you going to understand me?
47:27What are you going to understand me, man?
47:28I would understand you if you had this gut or these ankles.
47:31And why don't you have them?
47:32Why not?
47:33Why not?
47:34Well, then you don't understand me.
47:35But don't worry.
47:36Don't worry because we're going to put a remedy to all this.
47:39How?
47:40Remedy?
47:41Well, yes.
47:42I think it's time to tell them that it could be that I was pregnant.
47:46And after a few days we tell them that indeed, yes, I am pregnant.
47:49And that's it.
47:50If it weren't for lies and if it weren't for hiding them.
47:55Well, you're right, my love.
47:57We're going to make everyone find out.
47:59But we're going to do it in the fastest and most effective way.
48:03Elias.
48:05Good idea.
48:06Give me the screws.
48:08There.
48:11How?
48:12Once I read in a book that it was up here.
48:15Don't talk.
48:16Sorry?
48:17Execute.
48:18Mrs. Lázara.
48:19How do I tell you?
48:21But how did this woman find out if we haven't told anyone?
48:24Well, I don't know.
48:26But Elias already knows.
48:27And it has escaped him that the manager has told him.
48:31Well, that's because he has seen us talking and he has drawn his own conclusions.
48:34Yeah, but we talk to everyone.
48:37Yeah, well, but maybe we've lowered the guard.
48:40And he has seen too much complicity.
48:42We have to be more humble, Cañete.
48:44Humble?
48:45Yes.
48:46I'm already being humble.
48:48Every time I look at you, I feel like giving you a kiss.
48:53That's exactly what we don't have to do.
48:58Excuse me.
48:59I didn't want to bother you.
49:01I just wanted to know if everything was ready for the meeting of writers tomorrow.
49:07Yes, everything is ready.
49:09Very good.
49:10I didn't expect less.
49:11I'll let you continue with your thing.
49:14Our thing.
49:17Yes, of course.
49:19With work.
49:20Yes, right?
49:23Yes, of course.
49:24With work.
49:25That's what we were doing.
49:26Putting an issue in common.
49:27Very good.
49:28That's how I like it.
49:29That there is communication between those responsible for the model.
49:35To work.
49:39You have to see the cold blood that this woman has.
49:42But you've seen what she's done with her little finger.
49:44Yes, yes.
49:45She's been fighting with all the cynicism in the world.
49:47Well, look, I'm a little envious.
49:49I wish I had half the cynicism she has.
49:51So even if she marries Don Fermín, I would go to the salon.
49:55But I can't, Cañete.
49:56I can't.
49:57You're furious, woman.
49:59What you have to do is forget everything that has happened.
50:02Yeah.
50:03But it's not that easy either.
50:06Yes, I have the feeling that if I don't warn Don Fermín one last time, I'm going to regret it.
50:11Teresa, you already know that you can count on me for whatever you need.
50:16But you should put your feet on the ground.
50:18Yeah, but Don Fermín is going to make a huge mistake.
50:20Don Fermín is already old enough to own his actions.
50:24Besides, what have you achieved so far?
50:26In some confrontation with Don Fermín?
50:28Many headbutts?
50:30In clashes with the vampire?
50:32And all for what?
50:35That woman is a demon.
50:36Yeah.
50:37And she has resources for everything.
50:38And it's not that she only knows the skin, always.
50:41It's that as you continue to be enemies with her, she is capable of not stopping until you sink.
50:46And hey, we all feel affection for Don Fermín.
50:49But we can't be responsible for his decisions.
50:53He'll know what he's doing.
51:09Do you know anything about Clarita?
51:10Nothing. It's as if she had swallowed the earth.
51:12She hasn't come for the corral?
51:13No. Lucia said no.
51:15She's gone to look for her in the dump.
51:17And Antonia?
51:18Antonia is asking all the stores in the neighborhood, but nobody knows anything.
51:22No, not for the stores, not for the corral.
51:24Because I've already asked everyone and nobody knows anything.
51:27And Lara, her friend, neither.
51:30Nobody knows who that Lara is.
51:32They haven't even heard of her, which is very strange.
51:35And Matilde? Has she found out anything?
51:37No, no. Matilde has gone to Madrid, Cabaret.
51:39To talk to Íñigo and warn him.
51:41And to ask for his help.
51:42Hello.
51:43Hello.
51:44What are you talking about?
51:49Well, since I haven't said anything,
51:51I wanted to tell you that my father has told me that he is willing to talk long and tender about our relationship.
51:55That's good.
51:57And also to ask you about the grade for your exam.
52:00Have you got it?
52:01Yes, I've got it, but I haven't looked at it yet.
52:03And that?
52:05Well, look, Salvita.
52:06First, because I don't dare.
52:07And second, because I don't have time for that right now.
52:10If it's because you've suspended me, you can tell me anyway.
52:12No, it's not that.
52:13But I don't have time, I'm telling you.
52:15Salvita, please.
52:16If you haven't come to help us, please, don't be so stubborn.
52:20To help what?
52:22I mean, something serious has happened, but...
52:25Clarita, Matilde's sister, has disappeared and we can't find her.
52:28I didn't know anything.
52:30But I'm at your disposal to help you if necessary.
52:32Well, come on, we have to go around the city.
52:35Let's go.
52:45Laurita.
52:47Laurita, we want to talk to you.
52:49We need to talk to you.
52:50Yeah, but I don't want to listen to you.
52:52What are you going to tell me?
52:53I know you've been laughing and lying to me for a while.
52:56Look, I don't want any explanations, so either you leave or I leave.
52:59And I don't care if I leave like this.
53:01Laurita, please, we want to ask you, beg you, if necessary, to forgive us.
53:04I'm begging you, please.
53:05It all happened so unexpectedly.
53:07Can you forgive us?
53:08No.
53:09What you've done to me, I'll never be able to forgive.
53:12How...
53:13How have you been so stupid?
53:14You've been the stupidest person in the world.
53:15I didn't realize...
53:17When I made you dinner and you were so weird.
53:19Or when I talked to you about Agustín and you were so weird.
53:21Or even when I went to see you rehearse.
53:23How could I not see it?
53:25Besides, it's been going on for a long time.
53:27No, but...
53:28If you've noticed something weird between us, it's because we were fighting against what was happening to us.
53:32We felt so bad.
53:33Don't be so hypocritical.
53:34You've been playing with me.
53:35But do you really think I'm enjoying all this?
53:38Well, yes.
53:39The truth is that I think so.
53:41I'm going!
53:47What's going on here, nephews?
53:50I can hear your voices from the lounge.
53:52What's going on?
53:53Uncle, what are you doing here?
53:54Well, I came to see how you are.
53:56Celia told me this morning that you were feeling unwell.
53:59Yes, I'm unwell.
54:01Well, not anymore.
54:02It seems so.
54:03At least from your voice.
54:10Can someone explain to me what's going on here?
54:19I'm very grateful to you for bringing a photographer to your publication.
54:23No, no.
54:24Your wife is not invited.
54:25She is very invited.
54:28Yes, it will be over tomorrow.
54:30Sorry, I have to go.
54:31I have an emergency.
54:32Goodbye.
54:33Goodbye.
54:35Matilde?
54:36What's going on?
54:38It's Clarita.
54:39She's not here.
54:41What do you mean she's not here?
54:42We've been looking for her everywhere.
54:44And there's no sign of her.
54:46And we don't know where else to look.
54:48Honey, calm down.
54:49Maybe she's with her friend Lara and that's why she's going back.
54:52Well, I want to think about that, but I don't know where Lara lives.
54:54And no one can give me their address or their signs,
54:57because no one knows anything about her or her family.
55:01Íñigo, I have a bad feeling.
55:06Clarita gave these justifiers at school.
55:09Signed with my name.
55:11And I haven't signed anything.
55:15What?
55:17No.
55:24The Holy Virgin.
55:26It can't be.
55:28What? What can't it be?
55:32You've seen this letter a thousand times, Matilde.
55:36It's Carlo's letter.
55:48That woman is neither a lady nor is she in her right mind.
55:50The only thing she is is a criminal who wants to ruin Íñigo and Matilde's lives.
55:54And I hope she fails this time.
56:03Do you really intend to find my daughter among these four walls?
56:06What my agents expect to find is some proof that tells us where Carla is hiding.
56:11You have to find something, Inspector.
56:13Anything.
56:14My sister's life is at stake.
56:17My father has asked me to meet him this morning in the living room.
56:19And what good news does that have?
56:21Well, it's to close the last gaps in our relationship.
56:25I see.
56:26What if I'm not capable?
56:28Of course you're capable.
56:29You stabbed yourself with the needle and only girls who are very, very brave do that.
56:33Clara, this is very different.
56:35It's much simpler.
56:36I have to keep seeing them and I want to fulfill my dream.
56:39And does your dream really come true?
56:42And does your dream really come true to betray your sister in the worst possible way?
56:47Fermín, it is not necessary to make blood.
56:49No, it's not making blood, Clara.
56:51No one in their right mind would forgive a stab like this.
56:54No one.
56:55I have a very strong need to be a mother.
56:58I've told you a lot of times.
57:00You are more rested, more filled.
57:02Yes?
57:03Well, because happiness swells.
57:05I love you.
57:10Estrellita Castro has called you.
57:13I have accepted the offer.
57:15Congratulations, Celia.
57:17I'm sure you're doing very well and you're becoming a renowned artist.
57:21They have to keep calm.
57:23Any false step can be fatal for your sister.
57:25The situation is already fatal, inspector.
57:28We have no news of Clarita.
57:30It seems that the saint has gone to heaven, Teresa.
57:36Wait, Don Fermín.
57:38I know we've already talked about this, but I need to do it one last time.
57:42I have a series of recommendations for you, Salvita.
57:45Of course, you may not follow them,
57:47but when I expose them to you,
57:49you will realize that it is the best for your happiness and for your future.
57:54Well, woman, it will not be the first time that Don Fermín faces you.
57:57Yes, but his future wife is well prepared for him.
58:00I think it takes a lot of vampires to end Don Fermín's good character.
58:04I have the feeling that this is going to end badly.
58:06You still have a lot to do, right?
58:09No, Miguel, no.
58:11You and I have already talked about it.
58:13I'm fed up with lies.
58:15I can't take it anymore, look at me, I can't take it anymore.
58:17Tomorrow I'm going to talk to Teresa and I'm going to tell her that I'm pregnant.
58:20We have to clear things up, sister, please.
58:23For everyone's sake.
58:24If you had thought for everyone's sake, we wouldn't be in this situation.
58:28But don't worry, I've thought of a solution to end all this.
58:33Our mothers are very proud of our bravery.
58:36Are you ready?
58:42Clarita, please come here.