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00:00And I followed your instructions to the finger.
00:14And what did you do exactly?
00:16I enhanced the good doing of Leonora, I appeased her whims, I washed her, I almost glorified her.
00:22Very good, Miguel.
00:23I'm sure Trini has taken note and will soon send her mother home.
00:27I'm not so sure.
00:28Why not?
00:29Because Leonora is not stupid and she knows how to do something.
00:32Well, it would be less.
00:33No, why weren't you there?
00:35Try not to be playing with me or you will find out.
00:38If this is a scam and you are not being sincere, take care of this with me.
00:43Macho, you nail it.
00:46Although you impress this sense that that woman has.
00:51You can't come down, Miguel.
00:53You have to go ahead with the plan.
00:54The plan has been a fiasco.
00:55No, not at all.
00:56I've told you many times.
00:58You keep doing the good and following the current.
01:00I'm going to take the current.
01:01Not at all.
01:02The secret is in insisting.
01:04You can't give up.
01:05For what?
01:06As much as I try, it doesn't matter.
01:07No, Miguel.
01:08Insist, insist and insist again.
01:11Insist.
01:12No, not insist.
01:13Insist, insist and insist again.
01:15Insist, insist and insist again.
01:17That's it.
01:18Insist, insist and insist again.
01:20Insist, insist and insist again.
01:22There you have it.
01:23Insist, insist and insist again.
01:25Insist, insist and insist again.
01:28Of course.
01:29You're right, Cañete.
01:30Insist, insist and insist again.
01:32That's what I'm going to do.
01:33Very good.
01:34But you have to prepare it well.
01:36You can't act like crazy.
01:37Don't worry, don't worry.
01:38Because I'm coming up with a great idea.
01:40First of all, I'm going to give you the afternoon off
01:42so you can spend it together.
01:44In the meantime, I'll leave the house as it is.
01:47So you can see how well I'm doing.
01:49Insist, insist and insist again.
01:51But you always say that Leonora has the house shining.
01:54Yes, but I'll let her eat on the floor.
01:57And so Trini will understand that we don't need her mother
02:00so that everything is in perfect condition.
02:03Give me another piece of advice, Miguel.
02:05Let yourself be guided by an expert in cleaning.
02:07Esperanza, Miguel needs help.
02:10Tell me.
02:11Esperanza, I need your wisdom on cleaning
02:15to leave my house as it is.
02:17Oh, that's easy.
02:19Well, simple and difficult at the same time.
02:21That one is not without merit.
02:23I follow the ten commandments of cleaning.
02:26Yes, yes, very interesting.
02:28But I need products more than commandments.
02:30No, Miguel, don't be anxious.
02:32Let Esperanza recite her commandments to you.
02:35Let them overflow with hygienic wisdom.
02:37It's just that I don't have time for commandments.
02:39Well, if you don't have time for commandments,
02:41I don't have it for you either.
02:42So goodbye, very good.
02:43A little yes I have.
02:44But I don't now.
02:46Come on, Esperanza, don't get like that.
02:48Remember that I helped you
02:49when it came to Pietro's contest.
02:51But now you're going to get it for me
02:52at the same time, huh?
02:54Don't get like that, Esperanza.
02:56Miguel needs help.
02:57Excuse me if I have exceeded.
02:59But Cañete is right.
03:00I need your help.
03:02Please.
03:03Can you tell me
03:05what are those ten commandments of cleaning?
03:08Well, then take paper and pencil
03:10that you will need and write it down.
03:12Here you go.
03:14Come on.
03:16Commandment number one.
03:19Never be lazy
03:21about order
03:23or cleaning.
03:25Cleaning with a Z.
03:26See how it overflows with wisdom?
03:27But what is she telling me?
03:29Commandment number two.
03:30Come on, finish it.
03:31Commandment number two.
03:33What for a nun
03:35is to pray
03:37for you
03:39has to be to scrub.
03:41The rhyme.
03:42But I insist
03:44that what I need are useful advice
03:46and products,
03:47not this kind of advice.
03:48But you haven't asked me
03:49to give you the commandments.
03:50That's what I'm doing.
03:52Let's see.
03:53I am God
03:55and you are Moses.
03:56So write the tables well.
03:57Okay?
03:58Okay, Esperanza.
03:59Okay.
04:00Come on, where were you going?
04:01Commandment number three.
04:02Commandment number three.
04:04Two points.
04:06Space.
04:07Open quotation marks.
04:08Capitals.
04:09How was commandment number three?
04:11Over there you have the tester.
04:13Anything you need,
04:15tell me.
04:18Good morning.
04:20Hello.
04:21Hello.
04:22I've come to ask about Ivan.
04:24How is he?
04:26He's resting.
04:28Anything else?
04:30I'm glad it wasn't anything.
04:32I didn't say that.
04:34I think it was.
04:36I'm very sorry about what happened, Paula.
04:38Really.
04:39And my brother too.
04:41Look,
04:42in his hands,
04:43or rather,
04:44in his fist,
04:45he avoided it.
04:49I haven't come to argue
04:50or point out anyone.
04:52I've come to make peace.
04:56I've come because I think
04:57that between women
04:58we understand each other much better.
05:00Men need to measure themselves
05:02all the time.
05:05What am I going to tell you?
05:07Between us,
05:08we can solve things
05:09in a more civilized way.
05:11Don't you think?
05:14Yes, that's true.
05:19How has your family taken it?
05:21What do you think?
05:23Terrible.
05:26Hey,
05:29do you think I could go to your house
05:31and...
05:32and talk to Ivan?
05:33Do you think he'd welcome me?
05:35Are you going to go to my house
05:36knowing you could get yourself
05:37in the lion's den?
05:40And wouldn't you do the same?
06:02Cielo,
06:03would you like some coffee?
06:04No, no, thanks.
06:05Lazaro, no.
06:06And where are you going?
06:08I think you should stop.
06:10You look tired.
06:11Tired?
06:12No, no.
06:13Not tired.
06:14A little restless, maybe.
06:17Is it because of those documents
06:18you're going over?
06:19No,
06:20these are simple alabarans
06:21that I'm just checking.
06:26It's...
06:28for my son.
06:29It's...
06:31for my nieces.
06:35What's going on with them?
06:37Well,
06:39Inés is under attack
06:40because of her film career
06:41and right now,
06:43right now,
06:44no matter how much you say it,
06:45she can't get over
06:46her sister's relationship
06:47with Justín.
06:48That's what's going on.
06:51Yes?
06:54Good morning,
06:55Mr. Fermín,
06:56Mrs. Lázara.
06:57I just came to inform you
06:59that the director,
07:00Conrado Ballesteros,
07:01along with the rest of the team
07:02is already preparing
07:03the filming in the gallery.
07:04Well,
07:05I'll be delighted
07:06to greet you.
07:07Maybe
07:08another time.
07:09He's a very
07:12meticulous person
07:13and he doesn't like
07:14interruptions.
07:15Well,
07:16another time then.
07:19Anything else?
07:20No,
07:21just
07:22thank you
07:23for your collaboration.
07:27Well,
07:28I do have
07:29something else
07:30to tell you, Justín.
07:32I want my nieces
07:33both
07:34to be well.
07:35We've talked about
07:36Inés
07:37for a long time
07:38but now it turns out
07:39that Laurita is also here.
07:40Do you understand?
07:42Perfectly,
07:43Mr. Fermín.
07:45And it seems very logical
07:46that you are worried
07:47about your films
07:48and all the money
07:49you've invested
07:50in them.
07:51But what really matters
07:52to me
07:53is that Inés
07:54is happy
07:55and at the moment
07:56either because of
07:57the overload of work
07:58or because of
07:59the
08:00ruthless criticism
08:01she has received.
08:03That will change
08:04when we release
08:05La Pientrepida.
08:06I hope so.
08:07But at the moment
08:08you are responsible
08:09for her being happy
08:10and also
08:11for Laurita
08:12being happy.
08:15I don't know
08:16how
08:17I can help Laura.
08:19Making her feel comfortable
08:20being
08:21Inés' assistant.
08:23That would help a lot,
08:24wouldn't it?
08:26Don't worry.
08:27I'll do everything
08:28I can, okay?
08:29I can't wait any longer.
08:31If you'll excuse me.
08:40Thank you
08:41for your collaboration,
08:42Lazaro.
08:51Well,
08:52here you go.
08:53Thank you very much
08:54for coming
08:56and thank you
08:57for your purchase.
08:58Come back soon.
09:05How are you?
09:07Hello.
09:09How are you doing?
09:12Are you here
09:13for a dress
09:14or a skirt?
09:15I'm here
09:16for something
09:17much more serious.
09:18Look, Paula,
09:19your father
09:20has been talking
09:21to us
09:22and he has informed us
09:23of his plans
09:24with the synthetic fiber
09:25and he wants me
09:26to tell you about them.
09:28Well,
09:29you know what I'll tell you?
09:30That I'm glad
09:31to have informed
09:32my father
09:33so he'll stop thinking
09:34that he has impunity
09:35to do and undo
09:36whatever he wants.
09:37But Paula...
09:38And as long as he continues
09:39to care about
09:40what his ideas
09:41mean for his workers,
09:42I'll make sure
09:43everyone knows
09:44about his intentions.
09:45Think, please.
09:46What your father proposes
09:47is only in line
09:48with the times
09:49and it's logical
09:50that if countries grow,
09:51markets demand
09:52new things.
09:53What are you saying?
09:54And that's unstoppable
09:55and that your father
09:56only wants the good
09:57of your family.
09:58So it's convenient
09:59that for the moment
10:00the project
10:01is kept secret.
10:02And don't you think
10:03that the benefit
10:04of some
10:05can mean ruin
10:06for many?
10:07Many families
10:08will be harmed.
10:09You know some.
10:10Paula,
10:11I'm on your side.
10:12Yes,
10:13but he sent you
10:14to talk to me,
10:15didn't he?
10:16Why don't we talk
10:17more calmly
10:18this afternoon
10:19during the auction?
10:20Because I'm not going.
10:21I don't want to see my father.
10:22And now,
10:23don't you care?
10:37I hope
10:38that everyone
10:39is perfectly attended
10:40at all times,
10:43that no one is missing
10:44before or after
10:45the auction.
10:46Do you understand?
10:47Yes.
10:48Remember
10:49that you have to be
10:50clean
10:51and with the
10:52equipment.
10:53Do you understand?
10:54Yes, ma'am.
11:00Don't you hear
11:01that they are calling?
11:03Well, go open.
11:07I'll be right there.
11:10How patient.
11:19Ma'am,
11:20the lady
11:22Don't worry,
11:23I'll introduce myself.
11:26My name is Mercedes
11:27and I'm a friend
11:28of your son, Ivan.
11:29And what do you want, girl?
11:31I've been at
11:32your daughter Paula's store
11:33and she told me
11:34that I could see her
11:35if I came here.
11:36And why do you want to see her?
11:38To know how she is.
11:39Okay,
11:40thank you.
11:42And also
11:43to intercede
11:44for my brother,
11:45Cesar Morel,
11:46the owner
11:47of the Madrid Cabaret.
11:49Pepita,
11:50tell Ivan
11:51and then
11:52stay in the kitchen
11:54and check that
11:55everything is in order.
11:57Yes, ma'am.
12:01Your brother
12:02was here yesterday.
12:04I have to admit
12:05that you are
12:06a family
12:07with courage.
12:09How is he?
12:12He is still down.
12:14He is not proud
12:15much less
12:16of what happened
12:17and he would like
12:18to make peace
12:19with his husband
12:20Yes,
12:21it would be the best
12:22for everyone.
12:24Say hello
12:25to him from me
12:26when I see him
12:28and I am delighted
12:29to meet you.
12:30Of course.
12:34Wow,
12:35the doll
12:36of the cabaret.
12:37Ivan.
12:38I was not expecting
12:39this visit.
12:40May I know
12:41the reason?
12:43I wanted to ask you
12:44not to take into account
12:45my brother
12:46who is going to be saved.
12:47Not to take into account
12:48what?
12:49If he doesn't
12:50betray me,
12:51another rooster would sing.
12:55And I also wanted to ask you
12:56not to stop coming
12:57to the Madrid Cabaret.
12:59You miss it.
13:00Nothing of Madrid Cabaret.
13:02Mother, please.
13:03Ivan,
13:04no hangings.
13:08If you excuse me,
13:09I am leaving.
13:10I did not want to cause
13:11any dispute
13:13and if you ever
13:14want to come back
13:15to our place,
13:16we will welcome you
13:17with open arms.
13:19It's a reconciliation party
13:20and
13:22a little trip to the sea.
13:25Excuse me.
13:32The Madrid Cabaret,
13:33Ivan.
13:35You should
13:36think about
13:37doing useful things.
13:39Mother, please.
13:40Hey, Ivan.
13:41Wait, wait, wait.
13:42Don't go.
13:45Look,
13:46I am thinking
13:47why don't you help me
13:48with the auction?
13:49Yes, yes.
13:50Don't look at it that way.
13:51Since you are so recovered,
13:53why don't you work
13:54as a master of ceremonies?
13:55You do it very well.
13:56No, thank you.
13:58You better do it
13:59as you have always done.
14:00Ivan,
14:01I'm sure people love it.
14:03Especially
14:04women.
14:06I said no.
14:07That's your business.
14:08Don't involve me.
14:09Please, Ivan.
14:10I beg you, I beg you.
14:12I beg you.
14:13It's fine.
14:14It's fine.
14:16I'll do it.
14:17Ma'am,
14:18there has been a mistake.
14:19Tell me.
14:20The truck that came from Logroño
14:21with the wine
14:22has overturned
14:23and all the bottles have been broken.
14:24Thank God.
14:26We have to call Emiliano
14:27immediately.
14:33Operator,
14:34put me through
14:3545226, please.
14:41Emiliano,
14:43you'll see.
14:45No, no, no, no,
14:46that rug, take it away.
14:47Where is the closet?
14:48Where is the closet you asked for?
14:49Ballesteros, Ballesteros.
14:51That closet
14:52was out of the budget
14:53and I said they didn't bring it.
14:54What do you mean it was out of the budget?
14:55I want that closet right now.
14:56No, what you want
14:57is that rug
14:58that costs a lot of money
14:59and you're going to go in the movie.
15:00That rug doesn't come out
15:01in my movie, you son of a bitch.
15:02Get out, take it away.
15:03Take it away.
15:07We have to see
15:08the suit that all this has.
15:09Yes,
15:10and how lucky we are
15:11to be able to see it.
15:12Although we don't know
15:13about the movie,
15:14the magic of watching a movie
15:15is impressive.
15:17The magic?
15:19The lie, I would say.
15:20They use spotlights
15:21to pretend it's day
15:22and the backgrounds are painted.
15:24It's all a set-up.
15:25There's no magic, bitch.
15:26Well, for me it is.
15:28And don't tell me
15:29that the stars of the movie
15:30don't have
15:31glasses,
15:32a beard, air conditioning.
15:34Don't be an exaggerated woman.
15:35They are people like us
15:37and they work like us.
15:39The text is very good
15:40so you can be calm.
15:41Yes,
15:42let's see how the rehearsal goes.
15:44Inés!
15:48Good morning, Inés.
15:49Good morning.
15:50Good morning.
15:51Well, good morning
15:52to you too, Laurita.
15:53You must be enjoying
15:54like a pig
15:55with a pig
15:56being Inés' assistant.
15:57With what you like
15:58and the celluloid.
15:59It's said like that, right?
16:00Come on,
16:01let's go to work.
16:02Don't get caught
16:03in the operation
16:04of the vampire.
16:05No, not that.
16:06We're leaving.
16:07See you another time.
16:08Goodbye.
16:09Goodbye.
16:11What do you mean
16:12only one sound engineer?
16:13I asked for two.
16:14Well, you'll have to settle
16:15because they charge a mineral.
16:17Or if you prefer it,
16:18we'll exclude the art director.
16:20What do you choose?
16:22Do you want us to talk
16:23about the shadow of love?
16:24I remind you that you
16:25have looked for me
16:26after your failure
16:27and do you know
16:28why you have failed?
16:29Because I didn't direct it.
16:30That's why,
16:31now to praise you,
16:32you have hired me
16:33because I'm a fashion director.
16:34Tomorrow I want to see
16:35the two sound engineers
16:36here and no more talk.
16:37Come on, let's rehearse.
16:38First position.
16:40Go.
16:54Thank goodness
16:55that this tragedy
16:56of the film will last little.
16:57Well,
16:58so what?
16:59What?
17:00What about Paula?
17:02Look,
17:04I'm sorry,
17:05but I haven't managed
17:06to get them right.
17:08But you can be calm.
17:10Be calm
17:11about Paula.
17:13Yes,
17:14because she's not going to do anything.
17:15She's just going to be on alert
17:16for what may happen,
17:17but I don't think
17:18she'll move a finger.
17:20You disappoint me,
17:21Rodrigo, you disappoint me.
17:23I thought you would have
17:24more persuasion
17:25with that big head of Paula.
17:29You have to get
17:30the auction to come.
17:31If Maruja doesn't come,
17:32she won't forgive him.
17:34Yes, Mr. Emiliano,
17:35but...
17:36No, no excuses.
17:38Get them right as you can,
17:39but get Paula to be
17:40where she should be
17:41at the time she should be.
17:43Is that clear?
17:44Well, go.
18:03Good morning, Emiliano.
18:04Tell me we have good news.
18:06And such good news.
18:07I've come to solve
18:08your problem
18:09with the wine for the auction.
18:11My supplier
18:12will supply us
18:13enough to get out
18:14of the way
18:15in a way
18:16that's more than easy.
18:17Praised be God.
18:18Or no,
18:19let's do justice.
18:20Praised be you, Fermin.
18:21Sit down, sit down.
18:22Well,
18:23it's not that bad either.
18:24Of course not.
18:25Of course not,
18:26you're getting me
18:27out of the fire.
18:28Again,
18:29just like at the boarding school.
18:30My God,
18:31the boarding school.
18:32Those were the days.
18:34But as I recall,
18:35you also got me
18:36out of some
18:37kind of trouble, right?
18:38I don't know,
18:39I don't know.
18:40Well, let's not get nostalgic.
18:41First of all,
18:42I'm very grateful to you, Fermin.
18:44Maruja will be very happy.
18:46The foundation
18:47and the children
18:48are very important to her.
18:50And you want Maruja
18:51to be happy, naturally.
18:53Yes, of course.
18:54Well, with love.
18:56I hope
18:57Lázaro and I
18:58are still as in love
18:59as you are
19:00after so many years
19:01of marriage.
19:03Love is important,
19:04Fermin,
19:05but
19:06I would tell you
19:07that it is almost as important
19:08to have the party in peace.
19:10On one condition,
19:11that a lot of people
19:12from the post office will come
19:13and we have to cause
19:14an optimal impression.
19:15Don't worry about that,
19:16because the reputation
19:17of the Pedraza
19:18will not be stained
19:19because of the lack of wine.
19:20And I have already made sure
19:21that all of Madrid
19:22knows your name, God.
19:24How good you are, Fermin.
19:26And now, if you please,
19:27I invite you
19:28to a coffee
19:29at La Moderna.
19:30Let's do it.
19:31Let's go as far away
19:32as possible from La Farándula.
19:34Emiliano,
19:35I remind you that my nephew
19:36is the protagonist
19:37of the film.
19:38He will see.
19:39He will see.
19:40Sorry.
19:58Oh, Antonia,
19:59we want to talk to you.
20:03Well,
20:04the person in charge
20:05wants to talk to you.
20:06I have only come
20:07to accompany you.
20:11Well, let's see, Antonia.
20:14You already know
20:15that we have put two guys
20:16to Pietro
20:17to help him.
20:18The fact is that
20:19he doesn't want to see them
20:20and he continues
20:21to do the work alone.
20:23Well,
20:24that and that
20:25it's getting weirder.
20:27Weird?
20:28What do you mean?
20:30Well,
20:31it turns out that I was
20:32in the workshop
20:33and someone hit you
20:34with the broom
20:35and then he
20:36wanted to ask me
20:37to bring him
20:38a bag of flour
20:39because his hand
20:40was prickly.
20:42He wanted to ask me
20:43because he couldn't
20:44say the word
20:45flour.
20:46He pointed out
20:47the bag with the hand
20:48but he couldn't
20:49say the word.
20:50And I think
20:51he is aware
20:52that he has these lapses
20:53because he has asked
20:54him not to leave anything
20:55to anyone,
20:56especially you.
20:57And of course,
20:58Esperanza has come
20:59to tell me
21:00what she has done well
21:01in this case.
21:03And even if Pietro says
21:04that this is nothing,
21:05I...
21:07I don't know,
21:08I think he dreams a lot
21:09and this is worrying.
21:11Yes.
21:13And I assure you
21:14that I am.
21:16A lot.
21:18Do you have an appointment
21:19for the doctor?
21:20Yes,
21:21we have already asked
21:22in the hospital.
21:23I hope they give it to us soon
21:24because even if Pietro says
21:25that this is fatigue,
21:26I...
21:27as you know,
21:29I don't have it all with me.
21:32Well, you know
21:33that he has us here
21:34for anything he needs.
21:36Me too.
21:39As Esperanza has said,
21:40he has us here.
21:41Does that suit you?
21:43Just in case.
21:45Well, I also proposed
21:46to Mr. Fermin
21:47the possibility
21:48of hiring a substitute
21:49and although Pietro
21:50goes to the doctor
21:51and has the results,
21:52but of course,
21:54thinking about it well
21:55and with the character
21:56that Pietro has,
21:57we thought that maybe
21:58he could take it the wrong way,
22:00so in the end
22:01we decided to let him go.
22:03Did we do well?
22:04Yes, better.
22:05You did well, yes.
22:06Well,
22:07we will also be aware
22:08of everything.
22:19Come, come, come, come,
22:20come out
22:21with the boy
22:22to give him fresh air
22:24and pure
22:25and to you too,
22:26that is very healthy.
22:27In the meantime,
22:28I will decentrate the house a little.
22:29I'll decentrate it
22:30a little.
22:31No, no, no,
22:32don't bother, Leonora,
22:33you are in charge
22:34of a domestic job
22:35that does not belong to you,
22:36although we thank you
22:37for your help fervently.
22:38You work too much.
22:39I do it with pleasure.
22:40Yes, no one argues it,
22:41but you should rest more
22:42than at your age.
22:44At your age,
22:45you are great
22:46and that's because
22:47you have the right hours
22:48of rest.
22:49In addition, in addition.
22:50Ah, but what else is there?
22:51Your company
22:52does Leon very well.
22:54Since he's been with you,
22:55he cries less,
22:56eats better,
22:57sleeps more,
22:59and evacuates conveniently.
23:00Well, in fact,
23:01we all evacuate conveniently
23:02and that's because
23:03we eat better.
23:04Well, what's all this about?
23:05Well, I need to show
23:06that I am a good husband,
23:07a good father
23:08and a better son-in-law,
23:09in case there is any doubt.
23:10Any doubt, he says.
23:11Look, I'll stay clean.
23:12Let's see, mom,
23:13mom, mom,
23:14one moment,
23:15one moment,
23:16one moment.
23:17Let's see,
23:18what he is proposing to you
23:19is to have a free afternoon.
23:20And who doesn't want
23:21a free afternoon?
23:22Also, look, look,
23:23look how Leon is.
23:24He also needs
23:25to drink a little bit of strawberry
23:27and with the matraca
23:28that he has put in us.
23:29Do you have your head
23:30like a pum-pum?
23:31Let's go, Leon.
23:32Well, but we won't be long.
23:33Come on, my love.
23:34Let's go.
23:35See you later.
23:36Now, let's go.
23:37Oh, yes, yes.
23:38Goodbye.
23:39Come on, Leon.
23:40Let's go.
23:41Come on, my love.
23:42I'm coming, I'm coming,
23:43I'm coming.
23:44Shhh.
23:46I'm coming, I'm coming,
23:47I'm coming.
23:48Shhh.
23:59He said,
24:00it's a good day for smoking,
24:01Esperanza.
24:03And I know exactly
24:04how much it will be.
24:08Now, let's go,
24:09we have to activate it.
24:15I know that
24:16the political situation
24:17is delicate,
24:18but the commercial ties
24:19have to remain stable.
24:22You agree, don't you?
24:24Let's go with apes
24:25to the gentlemen of light
24:26who have just arrived.
24:32Excuse me, Iván.
24:34Lázaro, come with me.
24:36I want to introduce you
24:37to Mrs. Cristina,
24:38the countess of Tuche.
24:40It is a pleasure
24:41and a privilege to meet you.
24:42The pleasure is mine.
24:43And Mr. Alfonso Márquez,
24:44his nephew.
24:46I would like your nephew
24:47to meet ...
24:48Lieutenant.
24:49Lieutenant Márquez,
24:50if you don't mind.
24:51Excuse me.
24:52I would like the lieutenant
24:53to meet my husband,
24:55although now it will not be possible
24:57because he is attending
24:58to another guest.
25:00If you excuse me.
25:03Excuse me.
25:05Maruja,
25:07who is that woman?
25:09Elena Cavalieri,
25:11the niece
25:12of the Italian ambassador.
25:14She's very pretty, isn't she?
25:18It is very possible
25:20that Elena Cavalieri,
25:22the niece
25:24of the Italian ambassador,
25:25attends.
25:27And?
25:30I beg you this time
25:33to dismiss this house,
25:35our marriage
25:37and your children and friends
25:39who will also be present.
25:41Let's see.
25:44Let's see if I understand it, huh?
25:46What are you asking me?
25:48To avoid her?
25:50To pretend I don't know her?
25:53Maruja, I like to surround myself
25:54with interesting people
25:56and Elena is.
25:58You're not going to put
25:59a scene of jealousy on me, are you?
26:01At this point?
26:02No, Emilia, no.
26:03I'm just asking you
26:05to keep a certain distance from Cortés
26:07during the reception
26:08and the auction.
26:10Before and after,
26:12you can do whatever you want.
26:15As always.
26:17I take note.
26:19Thank you, Emiliano.
26:21But I don't promise you anything.
26:23You don't have enough with Pepita.
26:26Is she not enough for you either?
26:29The truth,
26:31no.
26:36Well, I'm going to leave you
26:38and see if Fermin has arrived.
26:39Yes.
26:45Attention.
26:47Attention, please.
26:49Good afternoon.
26:51First of all,
26:52on behalf of my mother
26:53and the whole Pedraza family,
26:55I would like to express
26:56our gratitude
26:58for your assistance
26:59to this auction,
27:00which is about to begin.
27:02If you are so kind,
27:03please come to the garden
27:05where you can meet
27:06and contemplate the objects
27:07for which you will be able to bid.
27:09Do it without limitations.
27:11The poor children
27:12will be grateful.
27:14This way, please.
27:25Now I would like to show you
27:27something for which
27:28you cannot bid.
27:30We have agreed
27:31that you like literature.
27:32That's right.
27:33Come with me.
27:34Please.
27:37Let's go.
27:52It was supposed to be clean.
27:54It was the first time.
27:57This is going to be
27:58cleaner than the palace
27:59in the past.
28:04A lot of dust
28:05is going to be here.
28:07That's it.
28:22Well, it must be
28:23very important
28:24what you have to tell me
28:25so that you can come
28:26to the garden
28:27without warning
28:28and dressed in a smock,
28:29nothing less.
28:30It's a commitment.
28:31I have to go
28:32to the charity auction
28:33of the Pedraza family.
28:35What a voice you have,
28:36darling.
28:38Well, I think I caught
28:39a little cold
28:40this morning in the gallery.
28:43I need to talk to you,
28:44Laurita.
28:48Sit down.
28:51You see,
28:54I'm very sorry
28:55to have made you come back
28:56and that you have to go through
28:58the ...
28:59Well, you,
29:00you already understand me,
29:01but I just can't
29:02dissolve society
29:04if you're not present.
29:05Uncle,
29:06if it's because of what I told you yesterday ...
29:07Well, yes,
29:08Laurita,
29:09yes.
29:10I'm very worried
29:11that you tell me
29:12that every time
29:13you see Inés
29:14and Agustín together
29:15you feel very uncomfortable.
29:17Don't worry.
29:19I got rid of you
29:20and I did very well,
29:21but I don't want to
29:22make a drama out of this either.
29:23Well,
29:24it's a very kind intention,
29:25but ...
29:26Uncle, with the movie
29:27and being Inés' assistant,
29:28I'm going to have to spend
29:29a lot of time with them,
29:30so maybe
29:31I'll get used to it.
29:32I'm really doing
29:33the impossible
29:34to finish the procedures
29:35as soon as possible
29:36and for you to be able
29:37to return to Germany
29:38if that's what you want.
29:39Of course.
29:40I appreciate it.
29:41By the way,
29:42I'm sorry
29:43I didn't attend your wedding.
29:44The distance
29:45was an insurmountable impediment,
29:46darling.
29:48And ...
29:49how's it going with Mrs. Lázaro?
29:51Better than good.
29:54Go.
29:59Uncle,
30:00what are you doing here?
30:01Good afternoon, Inés.
30:02No, I was ...
30:03I wanted ...
30:04to talk a little
30:05with your sister.
30:06Before ...
30:07Yes,
30:08he's ...
30:09worried about the shoot.
30:10Yes, exactly.
30:11Exactly.
30:12I want the gallery
30:13and the living room
30:14to look as it should
30:15and not bother
30:16the clients too much.
30:17Well,
30:18that's going to be inevitable.
30:19Yes,
30:20I've already told him
30:21that he's going to have to assume it.
30:22And you,
30:23how have you been?
30:24Fine, fine,
30:25but I'm tired.
30:26We finished
30:27the shoot very late.
30:28Thank goodness
30:29Agustín brought me
30:30and he's parking his car now.
30:32And the worst thing is that tomorrow
30:33I have to record in the gallery.
30:35Agustín just said it
30:36and now I have to start studying.
30:38I don't even have a minute for myself.
30:40Well, why not?
30:41Have a snack,
30:42rest a little
30:43and then we study.
30:44No, no, I can't,
30:45Laurita, I can't.
30:46Well,
30:47I have to go
30:48or I'll be late
30:49for the auction.
30:50But don't you expect Agustín to come?
30:51No, no,
30:52I don't have time.
30:53Say hello to him
30:54on my behalf.
30:55Laurita,
30:56take care,
30:57take care of your throat.
30:58Bye.
31:05Very good, like that.
31:06Sometimes you take it
31:07in a very rough way
31:08and this smell...
31:10What?
31:11Impressed?
31:12More than impressed,
31:13it's deadly.
31:15Tini, Tini,
31:16open the window.
31:18And then you tell the boy
31:20to breathe just enough
31:21for this smell to disappear.
31:25But what did you want?
31:26To die or to kill?
31:29You must have killed
31:30all the salfumans
31:31in the whole neighborhood.
31:33This wasn't a joke.
31:34I'm sure you've burned
31:35to the ground.
31:37You animal.
31:38Well, well,
31:39what my mother means
31:40is that it's true
31:41that you've gone a little
31:42too far with the salfuman,
31:43but well,
31:44you learn from your mistakes.
31:45You think?
31:46I think there are people
31:47who don't learn
31:48all their lives.
31:49Well,
31:50we have to value
31:51Miguel's good intentions.
31:52With good intentions
31:53you can't get anywhere
31:54and there are things
31:55that we can only do
31:56that we know how to do.
31:58Quiet, quiet.
31:59Look, even the boy
32:00is scared.
32:01What happens to the boy
32:02is that he's hungry,
32:03that's all.
32:04But please,
32:05if he gets a cold,
32:06his lungs
32:07don't have to be ready
32:08yet for this pestilence.
32:09Well,
32:10neither yours,
32:11nor mine,
32:12nor anyone else's.
32:13Well,
32:14I'm going to give him
32:15a bottle and that's it.
32:16But don't do it on the street
32:17so that the poor boy
32:18can breathe.
32:20And what about you?
32:21What were you thinking?
32:23Have you been thinking
32:24about something?
32:25I haven't.
32:27I don't know what to say.
32:28When you weren't here,
32:29I was in charge
32:30of the cleaning
32:31with Trini
32:32and we cooked together
32:33and we had it all
32:34very, very well.
32:36Well, I doubt it,
32:37I doubt it a lot.
32:38My husband,
32:39your wife's father,
32:40is and still is
32:41a clumsy man.
32:42His brothers,
32:43mine,
32:44none of them
32:45thought about
32:46making a house
32:47out of carpet,
32:48but you?
32:49Look, I don't know
32:50what you wanted,
32:51but you didn't get it.
32:52And you should know
32:53that I'm not going to allow
32:54you to endanger
32:55my son.
32:56I said my grandson.
32:57He's my son.
33:00Trini!
33:10Laurita,
33:11can you help me
33:12go over the text, please?
33:14Now?
33:15Don't you want to have a snack?
33:17No.
33:18I need you to help me,
33:19please.
33:26I can't stand
33:27this situation anymore.
33:28One of the two
33:29is left in this world.
33:31Don't tempt me
33:32because I'd kill her
33:33with my own hands.
33:34If that secret
33:35came to light,
33:36the sly spy
33:38would perish.
33:39She would perish.
33:40She would perish.
33:41Seriously.
33:42Who talks like that?
33:44My character
33:45would never say that.
33:46She doesn't speak
33:47from the truth.
33:48Well, Inés,
33:49calm down.
33:50Every time
33:51I say something,
33:52I mean it.
33:53Inés, calm down.
33:54Every time
33:55I like the role
33:56of the spy less,
33:57the movie,
33:58and every time
33:59I like it less.
34:00Have you read the newspaper?
34:01How dare they
34:02predict
34:03that we're going to fail?
34:04Well, Inés,
34:05don't listen to them.
34:06I'm sure you're exaggerating.
34:07Besides,
34:08you can't make yourself
34:09the failure
34:10of the shadow of love.
34:11It was teamwork
34:12for the good
34:13and for the bad.
34:14What do you know?
34:15You just arrived
34:16in this world
34:17and you don't know
34:18what you're saying.
34:19I'm sorry.
34:20I forgot
34:21that you know
34:23It's amazing.
34:25I'm going.
34:26No, no, no.
34:27I'm going.
34:28I have to do it all.
34:36It was so hard
34:37to park.
34:40In this city,
34:42every day...
34:46And those faces?
34:48Laurita,
34:49she knows everything.
34:50Inés is a martyr
34:51who does
34:52all the bad things
34:53in the world.
34:54Do you want us
34:55to sympathize with you?
34:56Don't count on me.
34:57Well,
34:58don't worry.
34:59I understand that...
35:00Laura,
35:01you're talking
35:02about the shadow of love,
35:03aren't you?
35:04Yes, I say
35:05that we have to share
35:06the responsibility
35:07of the failure
35:08among all.
35:09Well,
35:10I agree with that.
35:11Even I
35:12am part of the blame.
35:13In any case,
35:14the main culprit
35:15is the director.
35:16It's the director
35:17who makes everything up.
35:18So he's the biggest
35:19culprit.
35:20That's why
35:21I've hired Ballesteros.
35:22With him,
35:23success is guaranteed.
35:25Even if it costs me
35:26a lot.
35:28I don't know, Agustín.
35:29I don't know.
35:30I'd rather
35:31we stop the shoot.
35:33No, Inés.
35:36That won't be possible.
35:38We already did it
35:39when you asked us,
35:40but this time
35:41it won't be possible.
35:45I've been talking
35:46to Ballesteros.
35:48He told me
35:49that he's been
35:50watching the material
35:51you've been shooting
35:53and it's great.
35:55You are
35:56great.
35:58And you know
35:59Ballesteros isn't a director
36:00who's satisfied with little.
36:04Inés,
36:05you have to trust yourself more.
36:07Forget your fears,
36:08your insecurities.
36:11We're not going to change
36:13the shooting plan.
36:15Time is money.
36:17Tomorrow we shoot.
36:22Will you stay tonight
36:23and help me with the text?
36:27Of course.
36:42Has Esperanza arrived?
36:43No, she flew a bit,
36:44but it doesn't matter.
36:45Pietro,
36:46the important thing
36:47is that we do a check-up
36:48and they do the tests
36:49before we go to the hospital.
36:50She said it was Esperanza.
36:51It wasn't Esperanza,
36:52it was Teresa.
36:54Really? Teresa?
36:55Yes, Teresa.
36:56I'm sure she told Esperanza.
36:57Why are you killing me?
36:58Pietro, for God's sake.
36:59The important thing
37:00is that they're worried about you.
37:01And imagine me.
37:02And why, Antonia?
37:03Why?
37:04Because I don't know.
37:05Anyone can have a wave.
37:06Anyone.
37:10Pietro.
37:14Pietro.
37:15Look, Antonia.
37:16What are we going to wait for?
37:18For them to call us from the hospital.
37:20And this is what we're going to do.
37:21He's like a mule.
37:23Don't pressure me, Antonia.
37:24Please.
37:25And don't listen
37:26to Esperanza's nonsense.
37:29She's always exaggerating.
37:31I consider it nonsense
37:32that you forget
37:33the word flour.
37:34Yes.
37:35Yes, for God's sake.
37:36Yes, please.
37:37Why?
37:38I consider I was thinking
37:39about something else.
37:40And I lost my mind.
37:41Look, that's exactly
37:42where I don't want you to go.
37:44Don't you understand?
37:45Antonia.
37:46I'm going to catch my breath.
37:48Because I can't explain
37:49that nothing's wrong with me.
37:52Do you understand?
37:53Nothing.
37:54And tell your colleagues
37:55to leave me alone.
37:58Okay?
38:00Thank you very much.
38:05Pietro.
38:06Pietro.
38:13Pietro, forgive me.
38:15Forgive me, darling.
38:16You're right.
38:17Remember, understand me.
38:18I'm a little scared.
38:19But we'll do whatever you want.
38:23Pietro.
38:27Pietro.
38:29Are you okay?
38:36Pietro.
38:39Who is this?
38:42What do you mean, who are you?
38:44Pietro, it's Antonia.
38:46I'm your wife, darling.
38:49Pietro, you're scaring me.
38:52Pietro.
38:56Pietro, let's go home.
38:59Let's go home, okay?
39:01Darling.
39:03Please.
39:05Pietro.
39:10Pietro, come on.
39:12Calm down.
39:26Mother, I have to admit
39:29that I've really enjoyed
39:30directing Las Pujas.
39:31You couldn't imagine
39:32that I'd have so much fun.
39:34Thank you for forcing me.
39:37And the best is yet to come.
39:38It's not over yet.
39:40So I demand
39:41that everyone pay attention.
39:43Done.
39:45Please.
39:47Ladies and gentlemen.
39:49The hostess wants
39:51to give you a few words.
39:54I'll be brief.
39:56I just wanted to show my
39:59eternal gratitude
40:01to all of you
40:02for your collaboration.
40:05And also
40:07to tell you that we've raised
40:1032,000 pesetas.
40:16Thank you very much.
40:18And now
40:20you can continue with the party.
40:22The auction has been a huge success
40:24and all thanks to you.
40:26Don't exaggerate, honey.
40:28I just gave you the idea, nothing more.
40:30Well, that's the most important thing.
40:32I'm very happy to have helped
40:34by earning some belongings.
40:37You can be happy, Maruja.
40:3932,000 pesetas.
40:41Not to mention
40:43that the Duchess of Tutsi
40:45has promised to make a monthly donation.
40:47As I said, an unquestionable success.
40:57Mom?
40:59Aren't you happy?
41:00Of course I am.
41:02Well, I don't think so.
41:04Because it's not good manners
41:06to go around jumping for joy.
41:09But I'm not lacking in desire.
41:11And me?
41:13Because I'll have to do something
41:15with the money you've raised.
41:17Well, yes.
41:19And you don't know how happy I am
41:21to have been able to help you.
41:25Do you mind taking care of
41:27Lazaro and Fermin?
41:28Of course.
41:36Mr. Fermin,
41:38have you enjoyed yourself?
41:40Yes, a lot.
41:42Wow.
41:51This
41:54is a very old specimen
41:56of the Araucana.
41:58It's a first edition.
42:00It's from the 16th century.
42:02It's almost unbreakable.
42:04Touch it.
42:06Touch its pages.
42:08Touch them, touch them.
42:10They're soft, aren't they?
42:12Very interesting.
42:14You know, I'd say that this place
42:16is my refuge.
42:18It's the perfect place
42:20to surrender to loneliness,
42:22to reflection,
42:24to reading.
42:26And I like sharing it with you
42:29because I sense that you
42:31are also someone very special.
42:34What are you saying, Emiliano?
42:36I'm serious, don't laugh.
42:39You know,
42:42there are valuable things on these walls,
42:44but all of them together
42:48aren't worth the same as you.
42:49Excuse me.
42:55Am I bothering you?
42:57You're bothering me,
42:59and a lot.
43:01I was showing Miss Cavalieri
43:03the library.
43:05Is there a problem?
43:07No.
43:09Not at all.
43:11Then?
43:13I just wanted you to know
43:15that the auction is over
43:17and that it's been a success.
43:19Any more details?
43:21The collection, for example?
43:23Aren't you interested?
43:25I am.
43:27I'm very interested.
43:29But I think that now,
43:31at this precise moment,
43:33what you should do
43:35is attend to your guests.
43:37You'll tell me later.
43:39Emiliano...
43:41I said later.
43:43Now I have to continue
43:45teaching Miss Cavalieri books.
43:47You don't want us to make a mess,
43:49do you?
44:03Maruja?
44:05Are you okay?
44:07Has something happened?
44:09No, I'm fine.
44:11It's just the emotion of the moment
44:13that has given me a little headache.
44:15But I'm fine, dear.
44:17Are you sure?
44:19Yes, because you're my daughter.
44:24You're late.
44:26Rodrigo?
44:28I just got back from the store.
44:30I didn't have time to change.
44:32I would have liked to close earlier,
44:34but there were a lot of customers and...
44:36Don't worry about that.
44:38I'm very happy to see you here.
44:40Although the auction is over.
44:42Miss Maruja,
44:44has it gone well?
44:46It's been better than we expected.
44:47Why do you say that?
44:49Because you don't look happy.
44:51In fact, you look sad.
44:53I'm more than satisfied.
44:56But I'm also tired.
44:58It's been days of a lot of work
45:00and a lot of tension.
45:02And now a lot of emotions.
45:05And that always causes fatigue.
45:08Listen,
45:10there are still canapés left.
45:12And wine from which Don Fermin brought,
45:14which is an excellent wine.
45:15So don't waste your time
45:17and buy it.
45:30Didn't you have something for me?
45:32Yes.
45:39You're welcome.
45:41Well, what?
45:43What do you think?
45:45A magnificent auction,
45:47right, Emiliano?
45:49Well,
45:51I thank you for the part that I have.
45:53Although I think the credit
45:55belongs to my dear and lovely wife.
45:57And to your son,
45:59who has been an unbeatable master of ceremonies.
46:01What an air!
46:03What a way to drive the needle
46:05as if he had not done anything else in his life.
46:07Yes, well, it was not bad.
46:08I will convey your congratulations.
46:10You don't have to do it
46:12because I have already done it personally.
46:14Oh, well.
46:16By the way,
46:18your wife and mine have made good money, right?
46:20You think?
46:22I'm sure.
46:24Well, I'm glad.
46:27Pick up all the empty glasses you see.
46:32I'm sorry, I'm sorry.
46:34I'm sorry.
46:35I have already torn the dress of my great-aunt.
46:37But do you know how much that garment costs?
46:39A maid?
46:41I apologize again, I'm very sorry.
46:43Your apologies are not worth it.
46:45I'm going to talk to Mr. Emiliano
46:47and I'm going to tell him what kind of scum they have employed.
46:49Let's see, I already apologize.
46:51What else do you want?
46:53And who are you?
46:55That you defend the maid?
46:57I am his son.
46:59No, mother.
47:01And with great honor.
47:03Of course, now I understand everything.
47:05But I see that your mother has let you pass.
47:07You will see that there were those intentions.
47:09What are you insinuating?
47:11Son, it's not worth it.
47:13What you think.
47:15He looks like he has a very long hand.
47:17Look, I won't let him talk to me like that.
47:19Oh, no?
47:21And what are you going to do?
47:23What am I going to do?
47:25Rodrigo, no.
47:27What are you going to do?
47:31I can only remember that we argued, Antone.
47:32And then I have a very big embarrassment.
47:34What's happening to me?
47:36I don't know.
47:38Please, Lieutenant, come with me.
47:40It doesn't make any sense to make a mess here.
47:42I'm not going to move from here.
47:44Not until this scum removes each of his words.
47:46And until the maid of the maid ...
47:48I'm going to let him talk like that about my mother.
47:50Could we stay there in the house?
47:52No, but for once you could have done my part.
47:54Well, look, I did what I could, okay?
47:56I did what I could.
47:58But she was right.
47:59If it wasn't for her, who asked me to open the windows ...
48:01Well, she's a heroine.
48:03Well, enough already.
48:05Let me get an idea of what happened.
48:07It's too late to lament it.
48:09But I'm afraid that what happened yesterday
48:11will have very bad consequences for the foundation.
48:13This business can make us very rich.
48:15Well, congratulations to your father and to you.
48:17And you tell me what I paint in all this.
48:20I want to make more money
48:22than my father would be willing to give me.
48:24And for that, I need you.
48:26It seems a lie that a lady with so much class
48:27has a son with so little, right?
48:29Half memories for you.
48:31I would say that with a lot of interest.
48:34I think you like her.
48:37I also found it very pleasant.
48:39Don't you have anything to tell me about yesterday's evening?
48:42Maybe what you saw in the library?
48:44The actress who was going to work with Inés doesn't show up.
48:46They say she has fallen asleep.
48:48They're going to have to go get her.
48:50This is going to delay the shooting plan a lot.
48:53This is a catastrophe, Agustín.
48:54We can't afford to make any more mistakes.
48:56Well, you know that there are always unexpected shoots.
48:58You know that, don't you?
49:00Yes, yes, you can count on them,
49:02but we can't waste any more time.
49:04We're just on time because of Inés.
49:06Apparently, your friend was alone in the library
49:08with Miss Cavalieri.
49:10Well, that doesn't mean anything.
49:12Maybe he was looking for a book to lend her.
49:14No, maybe he was doing other things
49:16when Maruja found them.
49:18The actress who was going to shoot with you
49:20hasn't fallen asleep.
49:21A more important role has come out in another production
49:24and she hasn't doubted it.
49:26She hasn't given up.
49:28And how is Ballesteros taking all this?
49:31Bad.
49:33At least with yesterday's scare,
49:35it seems that Pietro has opened his eyes a little
49:37and now he does want to see a doctor.
49:39I wish they could have given us the hospital appointment in advance.
49:42You shouldn't have insisted on coming here.
49:49I don't know how she's going to react.
49:52She still stinks.
49:54And I had to get the child out
49:56at the risk of constipation.
49:58I understand.
50:00I'm still the responsible father
50:02and you're the grandmother who keeps saving León
50:04from all these dangers.
50:06You said it, not me.
50:08I don't know if I'm going to lose my mind
50:10if I stop being what I am.
50:12If I'm going to forget everything I've lived in this life.
50:14Your father wants Lieutenant Rodrigo
50:16to meet tomorrow and apologize to him.
50:18We just settled in Madrid.
50:19I don't want to fall into misfortune
50:21or have a scandal.
50:23Rodrigo will have to do it.
50:25His obligation is to serve the hospital.
50:27You look very beautiful this afternoon,
50:29more than usual.
50:31Don't be in such a hurry.
50:33Stay with me for a while.
50:35No, Emiliano, I have a lot of homework.
50:37Why are you giving me so much trouble
50:39and in the end you're going to do what I ask of you?
50:41Or am I wrong?
50:43No, right?