Salón de té La Moderna - Ep 246
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00:00A FEW HOURS LATER
00:16Come in.
00:21Can we talk?
00:22Come in, come in.
00:23Let's see.
00:25What's gotten into you?
00:28You need money?
00:30Is that it?
00:32Isn't your assignment enough?
00:34It's not small.
00:36I'm not here to ask for money.
00:38Well, in a way, yes.
00:40But it's not what you think.
00:41Surprise me.
00:43These days I've been able to rest and reflect.
00:47And I've realized that I should start thinking about my future.
00:52Actually, you should have started thinking about your future a long time ago.
00:55But well...
00:56I want to get to work.
00:58Wow.
01:01You really surprised me.
01:04And where are you going to work?
01:07Where else?
01:08In the family business.
01:09In the family business.
01:12But if you've never been interested in the textile industry,
01:15you've never cared about the family business.
01:18You, with your pockets full...
01:20That's true.
01:21But the time has come to settle my head.
01:24I've been thinking about the idea of synthetic fiber.
01:27I think it's the business of the century.
01:29And I want to be there to help you.
01:33It could well be the business of the century.
01:36But we're not the only ones behind the invention.
01:40There's going to be a fierce struggle to lead the market.
01:43It's normal.
01:44It's a revolutionary invention.
01:46Exactly.
01:47And that's why we'll have to work together so as not to fall behind.
01:50I'm more than willing to work.
01:52Put me to the test.
01:58Excuse me.
01:59Mr. Emiliano, I need to talk to you.
02:01Not now.
02:03We're busy.
02:04I'm sorry, but something very serious has happened.
02:06Pass.
02:08Pass.
02:10Let's see.
02:13Sir.
02:15Lieutenant Marquez has shown up at the office,
02:18entered and attacked me from behind.
02:20How?
02:21Betrayal.
02:23Are you okay?
02:24Yes, a little sore, but...
02:27Sir, I got him out of there.
02:29But what worries me is that he's been threatening Paula.
02:33Let's see.
02:34What do you mean, threatening Paula?
02:36Didn't he put a hand on her?
02:38No, for God's sake, I would never allow it.
02:39So?
02:40Paula went out to close the store,
02:42saw the light in the office and came to see who was there.
02:44And he saw us fighting there.
02:46I thought you should know.
02:48Where is Paula?
02:49Paula is here and I have accompanied her.
02:51Don't worry.
02:52Is she here?
02:53Yes, sir.
02:54In front of her, I didn't want to get things out of hand.
02:56But I ask permission to give him what he deserves.
02:59What are you going to do?
03:00Are you going to throw yourself into a duel?
03:01Shut up!
03:03Shut up.
03:05Let's do one thing.
03:07You leave it in my hands.
03:09Now what you have to do is rest and calm down.
03:12And tomorrow morning, with a cold head, you come to see me
03:15and we'll see how to face this.
03:17But I assure you that clown will find out
03:19what it means to mess with our family.
03:26Rodrigo.
03:29Thank you for defending Paula.
03:32And thank you for telling her.
03:34You're welcome, sir.
03:47Well, when do I start working?
03:51But haven't you heard what just happened?
03:53Your sister could be in danger.
03:56Are you stupid?
03:57We'll talk about you tomorrow or...
03:59I don't know.
04:00Whenever I feel like it.
04:27Well, you don't know how sorry I am to hear that, my friend Pietro.
04:31Thank you, Fermi.
04:33Listen to me carefully, both of you.
04:36This is not the end of anything.
04:38This is the beginning of a battle that both of you must fight
04:43with determination and without losing faith.
04:46Do you hear me?
04:47Yes, yes, of course.
04:50Of course we will fight, but...
04:52No, Antonio, there is no but.
04:54What did Dr. Quiroga tell you?
04:57Nothing yet.
04:59We're waiting for the nurse to send us a message.
05:01What do you mean, waiting?
05:04We can't wait.
05:05We don't have a minute to lose.
05:08I'll call Dr. Quiroga right now.
05:12Operator, put me through to 6-6-2-4-1 in Madrid, please.
05:16Dr. Quiroga.
05:19Good morning, Dr. Quiroga.
05:21Fermin Villanueva on the line.
05:23Would you give me a minute, please?
05:24No, no, no, no, it's not for me.
05:26Look, I'm with Pietro Fazielo and his wife and we were...
05:31Exactly, Repostero de la Moderna, yes, sir.
05:35Look, they've been a little worried about the diagnosis
05:38and we thought that maybe...
05:41Yes, yes, of course.
05:43Of course, I'll put him through now.
05:46Pietro, the doctor wants to talk to you.
05:54Dr. Quiroga.
05:57Hello, yes, I'm Mrs. de Fazielo.
05:59I can't put him through right now.
06:01I hope you understand.
06:04Yes, yes, I'm sorry...
06:07for the impudence, but we've been very worried and...
06:11Okay, yes, okay, okay.
06:14He's looking at the tests.
06:19Yes, yes, tell me.
06:21Yes, yes, tell me.
06:28He needs surgery immediately.
06:32Yes, but...
06:34But there's no...
06:36There's no other way?
06:39Yes, I understand, I understand.
06:41Yes, I understand that it's a delicate area, that...
06:46Yes, I'll tell him.
06:51Then, I understand that we can go directly,
06:55we don't have to make an appointment.
06:59Very well, you're very kind, I'll do it that way.
07:03Okay.
07:04Thank you very much.
07:12What did he tell you?
07:13What did he tell you?
07:18Pietro, dear, it's a malignant tumor,
07:20it has to be operated on immediately.
07:27And they'll have to open my head?
07:32It's a risky operation, yes.
07:35Risky?
07:38In what sense?
07:40I'm going to go blind.
07:42Paralyzed.
07:44Don't think about those things now, dear.
07:48Pietro, you can't lose faith,
07:50or temperance.
07:52Dr. Quiroga is the best at his job.
07:58But his job is to open my head, Mr. Fermin.
08:04I have to think about it.
08:05Think about what, Pietro?
08:07I have to think about it.
08:08Think about it, Pietro, please.
08:09Yes.
08:11Pietro, listen to me.
08:12You have a tumor in your head,
08:14and the doctor says it has to be operated on immediately.
08:16There's nothing to think about.
08:18As soon as we finish working, we'll go there.
08:23No.
08:24Pietro.
08:25No.
08:26Pietro!
08:27Pietro, please!
08:29Pietro!
08:30But where is this man going now?
08:32Antonia, you have to stay calm, please.
08:35We have to digest this news.
08:39What are we going to do now, Mr. Fermin?
08:44It will cost us a fortune.
08:46What are we going to do with him?
08:49Antonia, Antonia, let's make one thing clear.
08:52The money won't be a problem.
08:54Besides, now we just have to pay the stay at the hospital,
08:57and Dr. Quiroga won't charge you anything.
08:59And you know I'm here for whatever you need.
09:01Now, please, go with Pietro.
09:04But don't pressure him, okay?
09:08You need to get the idea.
09:12Yes.
09:27Well, I only know what I need.
09:29Well, I only know what the watchman told me this morning,
09:32but he didn't give me many details.
09:34He told me that a man came into the office
09:36and Rodrigo had to beat him up.
09:38I hope Rodrigo is okay.
09:41Yes, thank God.
09:42Although it could have been very serious.
09:44That man attacked him in the back.
09:47And what did he want? Steal?
09:50No, it's hard to explain.
09:54That man wants to humiliate Rodrigo.
09:57He thinks he can beat him up just because he's not from his social class.
10:02My God.
10:03Of course, there are people who don't know what century they live in.
10:06Well, you see, Teresa.
10:07I love this dress, it's beautiful.
10:10Try it on.
10:11I would like to, but I have to go back to the tea room.
10:14I'll come back later and try it on calmly.
10:17Whenever you want.
10:19Look.
10:20I'll leave you a card with the schedule.
10:22Ah, great, thank you very much.
10:24Well, I'd better come on a day off,
10:26because I see you have a lot of things and I want to try everything calmly.
10:29Very kind, thank you.
10:31And I also see that the prices are more affordable than I thought.
10:34Yes, the usual thing is that this type of garment is for more powerful people.
10:40But I have the theory that all women have the right to feel attractive.
10:45Well, I honestly couldn't dress up here with my salary.
10:50But I'm going to be able to give myself some whim from time to time.
10:54Well, here we are, whenever you want.
10:56Ah, by the way, Antonia told me that you advised her for her wedding day.
11:00Yes, yes, yes.
11:01There is hope, yes.
11:02And couldn't you advise me too?
11:05It's just that, look, I think a lot of games don't suit me.
11:08And I look in the mirror and I look older than I am.
11:11Well, of course.
11:12One day that you are free, you come.
11:14We have a coffee.
11:15Tell me what you like, what you don't.
11:18And you'll see how we go with a modern style that favors you and with which you feel comfortable.
11:23That's good, that's how I want to see myself, modern.
11:25Well, thank you very much for everything.
11:27You're welcome, Teresa.
11:28Bye.
11:34Hello.
11:37How are you, honey? How did you spend the night?
11:40Fine.
11:41My whole body hurts.
11:43That pig hit me hard.
11:46You haven't broken anything, have you?
11:48No.
11:49You should go to the doctor.
11:51What I should do is go to the barracks and give him a beating in front of all his companions.
11:55But your father told me that he will take care of it.
11:59It's for the best, Rodrigo.
12:01That man knows where he can go.
12:04And more being a soldier.
12:06I'm not afraid of him, Paula.
12:08Yeah, I know.
12:14Insist, insist and insist again.
12:16That's what you said.
12:17Yes.
12:18I said it with the best intention.
12:20With the best intention, not only have I not gotten rid of my mother-in-law,
12:22but I have her in the house permanently.
12:24Come on, I don't even take her out with hot water.
12:27I'm so sorry, Miguel.
12:28No, it's my fault for listening to you.
12:31Now I'm going to have her in the house until the kid goes to the mill.
12:34Well, I don't know.
12:35I don't know what?
12:37No, I just say that the house is yours.
12:40And I say that you will have the right to decide who lives in it and who does not.
12:43Come on, I say.
12:44As you can see, you've never been married, Francisco.
12:46No, I just say that ...
12:47No, nonsense, nonsense.
12:48You only say nonsense.
12:49That's very unfair, Miguel.
12:50That I lack experience in matrimonial matters is true.
12:53But the common sense dictates that ...
12:54The common sense dictates that if you want to have the party in peace,
12:57you better get along with your relative's mother.
12:59And I agree.
13:01But not at any cost.
13:02Look, Francisco.
13:03Let's leave it at that.
13:04I'm quite fascinated by it.
13:06Wow, but how are you so in a bad mood?
13:07What's wrong with you?
13:08The mother-in-law.
13:09She brings him on the street and the bitterness.
13:10I have to live at home, Teresa.
13:13Ah.
13:15Would the young man prefer that the woman live in a pension?
13:19Of course.
13:20The young man is going to work.
13:22And when he comes back, he has the house clean, the child taken care of,
13:25and the mother-in-law has already left so as not to bother the young man.
13:28Is that it?
13:29Well, that wouldn't be bad, would it?
13:31No.
13:32That would be very bad, Miguel.
13:33That would be an injustice.
13:35That would be having a babysitter, not your wife's mother.
13:38Look, I assure you that if I earn enough,
13:40I would already have a babysitter at home and my mother-in-law in the hotel.
13:43I'm going to work.
13:48Hey, he's our friend and a good person,
13:50but on this subject he seemed ungrateful to me.
13:52Don't say that, woman.
13:54Look, his mother-in-law is a widow.
13:56She is alone and is willing to come to Madrid to take care of her grandson.
14:00And in exchange for nothing.
14:02Well, nothing more than dinner and breakfast with his daughter.
14:05Damn, it's not much to ask.
14:07You're right about that.
14:09But put yourself in his place.
14:11The woman is an intruder.
14:12And the poor thing, since he had the kid,
14:14he hasn't had a moment of peace with Trini.
14:17Yeah.
14:18Trini is also overwhelmed, the woman.
14:20I would love to help you, but I don't know how.
14:25Well, I'm thinking of a way.
14:33It is of vital importance, Carmen.
14:35The peace of our country depends on this mission.
14:37You know the language, you have worked as a secretary,
14:40you are the right person.
14:41Do you want me to pretend to be the secretary of the German ambassador to spy on him?
14:46They have asked me strange things, but this one takes the palm.
14:50And don't look at me with that air of superiority.
14:52I have no intention of becoming a heroine.
14:55By the way, where did that hairstyle come from?
14:59I hope...
15:00I hope they give him back the money.
15:02I thought you were proud to be Spanish.
15:05Doesn't he care about the future of his country?
15:07Would he like to see Spain become a province of the German Empire?
15:10He appeals to my patriotism, but I appeal to his common sense.
15:13What will happen if I make a mistake and I am discovered?
15:16I will tell him.
15:17They will torture me and they will shoot me.
15:20And I have a good reason to live.
15:22His name is Eduardo.
15:23And he is the man of my life.
15:26If you allow me a piece of advice...
15:27I accept.
15:28If you accept...
15:29If you accept a piece of advice...
15:30Look for someone who has nothing to lose.
15:34I have found him.
15:35That someone is you.
15:37Eduardo, the man of your life.
15:38He was willing to sacrifice himself for Spain.
15:41I'm sorry to inform you that the platoon where Eduardo fought was ambushed.
15:45He died like a hero.
15:48And you have an opportunity to avenge his death.
15:52He went to fight against the Germans.
15:54Convinced that they were doing it on the right side.
15:56That they were the aggressors.
15:59I told him that I didn't agree, that it wasn't our war, but...
16:02He didn't listen to me and...
16:04And now he's dead.
16:06And you have an opportunity to avenge his death.
16:10I still believe that this war is not with me.
16:12But if the Germans killed Eduardo, they will have to pay for it.
16:17I accept the mission.
16:19I just want to know one thing.
16:22How did he die?
16:24How were his last moments?
16:30What do you think?
16:33Ballesteros was right.
16:37About what?
16:39What?
16:40That...
16:43No...
16:45Ballesteros...
16:47He told me that...
16:50You would do this scene and...
16:52It's very good.
16:54Really?
16:57And what did you think when I said, I accept the mission?
17:01Exciting.
17:03Ballesteros will be...
17:05Very happy.
17:07That's good.
17:10Laura, would you mind leaving us alone?
17:13I would like to talk...
17:15With Inés.
17:17Yes, of course.
17:18I'm going to have a drink.
17:20Have a good time.
17:30Tell me.
17:35Have you been able to talk to Carlitos?
17:38Carlitos?
17:40General Fariñas.
17:41I call him Carlitos because we've been friends since we were cadets.
17:46Yes, he seems like a very attentive man.
17:48I'm very grateful that you contacted me with him.
17:51It's the least I could do.
17:53He is the first interested in solving all this.
17:56In the army they are very strict with the soldiers who disarm.
18:00I see, I see.
18:01The truth is that he has told me that he is going to open a disciplinary file to Lieutenant Márquez.
18:06And that if he doesn't apologize to you and Rodrigo, he can end up in a war council.
18:11Well, I think it's very good.
18:12Because no matter how much of a lieutenant that Márquez is, he can't go around doing his thing for a year.
18:19Good morning.
18:20Good morning, Rodrigo.
18:22Did you want to see me?
18:23Yes.
18:25We have sent you to call because we are going to meet here with Lieutenant Márquez.
18:31As you say.
18:33And even if you don't believe it, he's going to apologize to you.
18:39I'm sorry, but I find it hard to believe that he has regretted it so soon.
18:42He hasn't regretted it.
18:45No, of course he hasn't regretted it. He doesn't regret it, he's forced to.
18:49Because Fermín has put me in contact with a division general.
18:51And when I told him about Márquez's troops, he decided to take action on the matter.
18:58I thank you very much for your help, Don Fermín.
19:00I just hope you don't get angry or I don't put another number here in your place.
19:03I don't think he can, but he dares to face a general with two stars on his hat.
19:08Excuse me, gentlemen, Lieutenant Márquez is here.
19:10What's up, Elias?
19:13Would you like something to drink?
19:15No, nothing. You can go, Elias, and close the door if you are so kind.
19:18Excuse me.
19:23Welcome, Lieutenant.
19:26I suppose you already know why we have called you.
19:30You didn't call me. I'm here on orders from General Fariñas.
19:34Ah, well, I praise your discipline.
19:38And I hope I'm not mistaken if I tell you that those orders consist of you apologizing to this gentleman.
19:48What's wrong, Lieutenant?
19:51Did the blows you took yesterday hurt your ear?
19:56Apologize.
20:00On behalf of General Fariñas, I apologize for my behavior.
20:05You are a lieutenant of the Spanish army.
20:09You are supposed to have the courage to look your enemy in the eye.
20:15You didn't show that courage yesterday.
20:17You attacked Rodrigo with treason.
20:19Show it today.
20:20Show it, Lieutenant.
20:22Make yourself worthy of that uniform you are wearing.
20:25Let's go.
20:37I apologize.
20:43I accept it.
20:45I accept it.
20:50Can I leave?
20:51No.
20:53No.
20:54Not yet.
20:56Look, I understand that your apology implies the promise of not taking reprisals.
21:02Put another way, your aunt, the countess,
21:07will continue with her generous donations to the cause you propose.
21:11She will continue with her generous donations to the cause my wife promotes.
21:18If she agrees,
21:20now,
21:22now she can leave.
21:25Just let me tell you one last thing.
21:27If I harm a member of my squad again,
21:30or much worse, my family,
21:33I guarantee you that an apology won't be enough.
21:36I will personally make sure that he rots in a dungeon.
21:42I will personally make sure that he rots in a dungeon.
21:48But, Laurita,
21:49she's not an actress.
21:52Ballesteros insists that she did it better than all the actresses who performed.
21:56Much better.
21:57Yeah, but that doesn't mean she's trained to be an actress.
22:02Laura is not an actress.
22:03It's true.
22:04But it's also true that she did it wonderfully well.
22:07And the character is very small.
22:09Agustín, please.
22:10No, understand me.
22:11It's a crucial character in the film.
22:14Inés, understand me, please.
22:16What I want to tell you is that
22:18I would never offer her a leading role.
22:21But being a character of two, three scenes,
22:23and having you as a guide,
22:26I can do it very well.
22:29I don't know, Agustín.
22:31We play a lot with this film.
22:34And after the failure of The Shadow of Love,
22:36we can't risk getting in trouble again.
22:40That's true.
22:43But Ballesteros insists.
22:47But let's see.
22:49This character is supposed to be a mature woman,
22:51expert in diplomatic and espionage matters, right?
22:54Yes.
22:55Well, Laurita is a girl, for God's sake.
22:57Well, but that can be fixed with make-up.
23:00Agustín, please.
23:02That's enough.
23:03Let's find a professional and stop this nonsense.
23:05Okay.
23:07If we have to do more rehearsals, we'll do more rehearsals.
23:09You've convinced me, okay.
23:12I'll talk to Ballesteros.
23:13Very well.
23:16Do you want something to drink?
23:26Dr. Quiroga, who is a very good friend of Mr. Fermin,
23:29and is also an eminence,
23:31says that we have to operate immediately.
23:35It's not a guarantee of anything,
23:36because, apparently,
23:37putting the scalpel in the brain is always very risky.
23:42Oh, mother.
23:43Well, you know.
23:46I just ask you one thing, please.
23:47In front of Pietro, normality.
23:51I don't want any tears,
23:53or tears on my back.
23:56Besides, he still hasn't finished digesting it.
24:01But how is he going to digest it?
24:03The poor man.
24:04But don't say poor man.
24:05Antonia is telling him, woman.
24:08I won't say it in front of him,
24:09but here I can say it.
24:10Don't you hear me?
24:12Can I give you a hug, Antonia?
24:14Yes, of course.
24:22So,
24:24please,
24:25the last thing Pietro needs
24:27is to be looked at with a sad face.
24:29You two, as if you didn't know anything.
24:32Besides, he still doesn't know if...
24:35if he wants to operate.
24:37What do you mean he doesn't know?
24:39If he doesn't have an alternative?
24:40Yeah.
24:41That's what I'm telling him.
24:43But I don't know.
24:44He just found out
24:45and I guess he'll have to make up his mind.
24:48Let's see if he convinces him tonight.
24:50Because as soon as we tell the doctor,
24:52they put him in the operating room.
24:54And how are you?
24:55Because,
24:56at the moment, I see you
24:58very serene.
24:59Well, what a remedy, right?
25:02It's just that it's very uncomfortable.
25:04Two people so good
25:05and who have suffered so much
25:07and now that they were finally together and happy.
25:11What a bitch life, damn it.
25:12Well, I...
25:15I trust Dr. Quiroga a lot.
25:16Besides,
25:18science has advanced a lot.
25:20Eh?
25:22And what do they say?
25:23That hope is the last thing you lose?
25:24Yes.
25:25Of course.
25:26Now you have to be strong.
25:27You have to be strong, that's it.
25:29Yes, yes.
25:30Pietro needs me to get out of the car and...
25:33That's what I'm going to do.
25:35Well, anything you need,
25:37count on us.
25:38I will.
25:40Go to work.
25:41Come on.
25:42Anything, anything.
25:43I know.
25:45I know.
25:51Ah.
26:11Sorry, I'm very late.
26:14All good things have to wait.
26:16Come with me, please.
26:17Yes, of course.
26:21Would you like something to drink?
26:22No, thank you.
26:24I thought there would be more customers by now.
26:28We won't open to the public until in two hours.
26:31Are we alone then?
26:33That's right.
26:34Does it seem inappropriate to you?
26:37No, why would it seem inappropriate to me?
26:39We're just going to talk about business, right?
26:41Exactly.
26:42The budget is ready.
26:45I assure you that I have made it at the price of a friend.
26:47Very good.
26:48What an honor.
26:49Thank you very much.
26:51I'm not used to this kind of budget.
26:54My husband has this kind of accounts.
26:57If you need me to explain a concept...
27:00Let me see for a moment.
27:03Well, yes.
27:04For example, this game.
27:05What is it exactly?
27:07May I?
27:09Yes, of course.
27:15Ah.
27:16Yes.
27:18These are the unforeseen.
27:20The unforeseen.
27:21I usually reserve 5 or 10% of the budget for the unforeseen.
27:26Finally, the client doesn't usually pay it,
27:28but I like to foresee in case something unexpected happens.
27:31Of course.
27:32You can never rule out that something unexpected happens,
27:35that it complicates everything.
27:36That's right.
27:37It's better to foresee so that later we don't complicate our lives.
27:41Look.
27:43Excuse me.
27:44Yes.
27:45If you see, on this page here,
27:48I have reserved another game,
27:51mainly for topics that have to do with...
27:53Good afternoon.
27:54Good afternoon.
27:56Sorry, I hadn't realized how late it is.
28:00But I'm just arriving.
28:01I know, but I have to go.
28:04If you don't mind, I'll go over the budget at home with my husband.
28:09As you wish.
28:10Mercedes, could you accompany Mrs. Petazza home?
28:12With pleasure.
28:13No, no, it's not necessary.
28:14Really.
28:15It's not a problem for me.
28:16I think it would be a good time to reiterate to your son Ivan
28:19that he is welcome in our place.
28:21I would love to have him back as a client,
28:23as long as he has recovered.
28:25Very kind.
28:26And sorry for the rush.
28:29But thank you.
28:30Let's go.
28:44Let's go.
29:00Come on, cutie.
29:01Be patient.
29:02Let's see if your father comes out with the bottle.
29:04And this time I hope he doesn't bring it to you frozen.
29:07Here we are again, Mom.
29:09Please, Miguel is going to hear you.
29:11He only hears what suits him.
29:13Oh, cutie.
29:15Please, let's have the party in peace.
29:18It's okay, Verón.
29:19Here, again.
29:20It was time.
29:22It's burning, it's burning.
29:24Come on, put it under the tap.
29:26First too hot, now too cold.
29:28Let's see, you're going to help me.
29:32Thank goodness I'm here, right?
29:34And not him.
29:35I'm listening.
29:39Leonora, Reina Bora.
29:41Your eyes are so happy.
29:43Elias.
29:44What are you all doing here?
29:46We have come to visit the family.
29:48Well, and Elias, who has stuck to us and there has been no way to get him off.
29:51How are you, Leonora?
29:53I mean, how are you?
29:55Apart from beautiful, of course.
29:57Oh, how are you, what a surprise.
30:00Well, now you can say that you are the most beautiful grandmother in all of Spain.
30:04And if you allow me, I would like to invite you to have lunch at the retreat.
30:07Yes, I'm going to be the envy of all Madrid.
30:09Well, I'm here with Leon and ...
30:11I don't know.
30:12What a woman, I'm already staying with him.
30:14I already give him the bottle or whatever.
30:16But who are you?
30:17Well, I'm Teresa.
30:19I'm a friend of theirs.
30:20Come on, cheer up.
30:21Come on.
30:22Well, but the bottle is warm.
30:24It's that ...
30:25Don't worry, ma'am, everything is under control here.
30:28But no, no, I'm like this, without fixing it.
30:32Let's see, if what is not broken, there is no need to fix it.
30:35And Leonora, you are breaking it.
30:39We are leaving.
30:41Now you take it.
30:42Yes.
30:44Rubir.
30:47Thank goodness.
30:49Well, and now the two of us are going with the kid.
30:52What do you mean with the kid? Where?
30:54Well, to take a walk around, what else?
30:57The important thing is that you have a little while for the two of you.
31:00Without a mother-in-law, without a child and without annoyance.
31:03But are you serious?
31:06You are Santa Teresa de Ávila.
31:08Well, a couple of hours will be fine, right?
31:10Oh, thank you, thank you, thank you.
31:13You have a good time.
31:15Kid, let's go for a walk.
31:16Come on, let's go.
31:19What happened?
31:20To enjoy.
31:21Goodbye.
31:22And goodbye.
31:23Goodbye.
31:37Goodbye.
31:50Come in, come in, please.
31:51Very kind.
31:53I'm going to look for my son Ivan.
31:56But please, not a word of the event that we are organizing in the cabaret.
32:01He doesn't know anything.
32:02No, no, he doesn't know it, nor should he know it for now.
32:05But not for nothing.
32:06Simply because I haven't decided.
32:10He doesn't agree with the budget.
32:13They are other things.
32:16Well, whatever it is, my brother is very flexible with these things.
32:20He is always receptive to adjust whatever it is.
32:23It's good to know, thank you.
32:25I'll review it and make a decision soon.
32:30I'm going to let my son know.
32:35Goodbye.
32:46Would you like something to drink?
32:48I usually drink a cocktail at this time.
32:50But I understand that you are not going to shake the cocktail shaker, right?
32:52Well, I was referring to a coffee or something like that.
32:54And I was referring to this type of informal meetings.
32:57It is better to do them in the tea room or in a cocktail bar, as God commands.
33:01Next time we will do it like this.
33:03Please.
33:09Very good. Tell me, what is the bad news?
33:14Well, I don't have bad news.
33:16Come on, let it go.
33:17What's wrong? You still haven't found me the two sound engineers.
33:20Is that it, right?
33:21Well, you're wrong, because I got them and they are good.
33:24They were about to sign with Manolo Casanovas in the new production company that is being set up in Valencia.
33:29Cifosis or something like that.
33:31Cifesa.
33:32And don't laugh, it's going to be the most important company in this country.
33:37Well, right now it has run out of engineers because I have hired them for your new film.
33:43Very good. You have already given me the good news, now the bad one.
33:46There is no bad news, and come on with that.
33:48There are only small setbacks, nothing more.
33:54Inés' sister won't be able to make the film.
33:58And that? What happens? Has the money gone up the barrel?
34:01No, no, no, it's not about money.
34:03So, if there is no problem with the money, I don't want to hear another word.
34:07Listen to me.
34:08No, Agustín, in the artistic part I rule.
34:11If I choose an actress and you get the budget, this actress is in the film or I'm out.
34:16But we are not talking about the Argentine Empire to be the protagonist.
34:20Laura is not an actress and the role is very small.
34:22You say that because you don't have an artistic vision, Agustín.
34:25That actress is a jewel, she is a raw diamond, I already told you.
34:28That actress could be the new Argentine Empire.
34:30And you and I could be the visionaries who discovered her.
34:33I think you're exaggerating a little, aren't you?
34:35Look, I don't have to convince you of anything, it's my decision.
34:38You dedicate yourself to signing cheques, which is what you are here for.
34:41Don't talk to me like that.
34:42I am the producer.
34:44I do many more things apart from signing cheques.
34:46Very well, you are the producer.
34:48You are the boss of all things.
34:49The owner of the cotarro, the master of the track and everything you want.
34:52But I choose the distribution.
34:55Either you bring me Inés' sister or I leave the film.
34:58We are in the middle of the shoot, you are not going to leave the film.
35:01You have a contract with me, do you hear me?
35:03Exactly, I have a contract and my contract says that artistic decisions belong to me.
35:07And after the disaster of The Shadow of Love, you are not to give advice to anyone, Agustín.
35:11That's a low blow, Ballesteros.
35:13Very low.
35:14Look, I'm going to the lab.
35:15Send me a message when you make a decision, but you already know what it is.
35:18Either you bring me Laurita or you look for another director.
35:29THE SHADOW OF LOVE
35:43I'm sorry, my love.
35:45It's the first time something like this happens to me.
35:47Yes, I didn't have the nerves either.
35:50Just nerves.
35:52Because I tell you, it won't be for lack of desire.
35:55No, love, we have our heads elsewhere.
35:57It's getting away from Leon.
35:59And if a vacuum comes in here, in the guts ...
36:03Yes, I understand you.
36:05I don't know.
36:06And look, Teresa and Cañete are totally trustworthy to me.
36:09But it has been getting into bed and starting to think.
36:13And if his gut hurts and nobody knows how to get rid of the gases.
36:16And if it's cold and they don't dress him well.
36:18And if he misses his parents.
36:20Oh, love, we are a disaster.
36:22We had to come with them.
36:24I know.
36:28Hello.
36:30Hello, mother. How did it go?
36:32Very well. What a laugh.
36:34He could be a comedian in the cinema or in the circus.
36:36What a fun time.
36:38Where is the light in my eyes?
36:39Well, mother, you see ...
36:41Oh yeah, you've put him to sleep as if he were.
36:43Well, you'll see the night he's going to give us.
36:46Children have to have their routine, don't you know?
36:49That's not it, mother-in-law.
36:50Some friends have taken him for a walk.
36:52Yes, he's with Cañete and Teresa.
36:54What? Have you given the kid to strangers?
36:58Strangers? No, mother.
37:00They are our friends.
37:03For the child, yes, they are strangers.
37:06It's amazing, I turn around and you give the kid to a maid and a simple waiter.
37:11To a manager and a chief of waiters, to be more exact.
37:14A simple waiter is the one so funny that you have to feed him.
37:18Yes, and be careful because I'm also a maid.
37:21Really, really, really.
37:23Where is the boy?
37:26Well, he must be in the park.
37:29Or in the boulevard, they told me.
37:31Or you go and see.
37:32Maybe they have taken him to the bridge in Toledo to throw him into the river.
37:34You are unconscious, irresponsible.
37:37Really, huh?
37:38I'm not going anywhere again.
37:40With you two, you never know where the kid is going to be.
37:42Come on, let's go find Leon right now.
37:44Come on!
37:46Mom!
37:53Mom!
38:05Good afternoon.
38:07How are you, Ivan?
38:11I'm a little disappointed that you keep calling me you.
38:17It's the most appropriate.
38:20It may be.
38:21On the other hand, the most appropriate is usually also the most boring.
38:26Well, nothing better to fight boredom than to drop by Madrid Cabaret.
38:30I have come to formally invite you to visit our place again.
38:35Ah, well, thank you very much.
38:39It's a personal request from my brother.
38:42Not so personal when you are the one who has come to tell her.
38:45I wanted to know if he was fully recovered and I am very glad that it is.
38:51And I am glad to see that I am still well received in your place.
38:54It will be a pleasure to accept that invitation.
38:59I won't take up any more of your time.
39:00As much time as you want and more.
39:02And it is I who should thank you.
39:06For the invitation and for opening my eyes with that shameless smile.
39:12It is clear that he was a fraud and that he was looking for nothing but to take me out of the rooms.
39:18I'm glad I was useful to him.
39:21Excuse me.
39:22Wait, let me get you a taxi.
39:25It's not necessary. Thank you.
39:28Good afternoon. And we'll see each other soon at the Cabaret.
39:46I think it's a first-rate fraud.
39:48Yes, sir. But they have asked for very little.
39:51I think that if they want us to give them priority in the deliveries, they should buy more.
39:56And what do we do? I tell them no.
39:58It's not that either. I don't see it clear to lose a client of this category.
40:03Maybe I can squeeze them a little.
40:08Double the order.
40:10I think these people have enough clientele to double the order, even triple it.
40:16Well, as long as they double it.
40:18When they see how we work.
40:20If they need more gender, you'll see how they triple it.
40:27Have a drink with me, man.
40:29Don't you want to celebrate how we've just humiliated that lieutenant?
40:33Thank you, Mr. Emiliano, but I'd rather not drink anything.
40:37It's not to make the ugly.
40:39But if you don't make any ugly.
40:41What happens is that today you have no excuses.
40:43Come on, take the glass.
40:45Take it, that's it.
40:48A toast for that lieutenant, who doesn't reach the sole of his shoes.
40:55Who doesn't reach the sole of his shoes?
40:57Rodrigo?
40:58Lieutenant Barquez.
41:00You should have been there.
41:02You should have seen his face when we told him how it was.
41:05You have no courage to look your enemy in the eye.
41:08Well, it's not dirty to the pants.
41:11I, if you don't need anything else.
41:13Go, go.
41:15Excuse me.
41:27Is it a good time now to talk about mine?
41:29Or do we have to keep singing Rodrigo's praises?
41:32As if it were Vibar's day.
41:34Sit down.
41:37Your thing is already fixed.
41:39You start working tomorrow.
41:42They're waiting for you at the factory at the first hour.
41:46At the factory?
41:48For what?
41:50What do you mean, for what? To work.
41:52That's not what you wanted.
41:54They're going to give you a monkey and some gloves.
41:56Take care of it specifically when they explain to you about the machinery.
42:00How it works.
42:01It's easier than what it seems to take a finger in those eyelets.
42:04A monkey and some gloves.
42:06You're going to make your son work as if he were a miserable worker.
42:09Not at all.
42:11An honest man who earns his bread with the sweat on his face.
42:15Like your father did, like your grandfather did,
42:17and like any decent person on the face of the earth.
42:20As far as I remember, my sister didn't have to do this.
42:23Your sister studied a career, Iván.
42:25And then she spent months working on a business proposal.
42:29What have you studied?
42:30No, tell me, what have you studied?
42:32Nothing.
42:33And as far as I know, you've never come to me with an idea for the business.
42:36You're too busy getting drunk in the taverns and the cabarets.
42:41That was before.
42:42Before yesterday.
42:43I'm sorry, son.
42:45That's what it is.
42:46You want to learn the business?
42:47I think it's very good.
42:48But you're going to do it from the bottom up.
42:50Like I did.
42:52Like Rodrigo did.
42:53Don't compare me to Rodrigo.
42:55Of course I don't compare you to Rodrigo, because there is no point of comparison.
42:59Where are you going, son?
43:02Don't give up.
43:04Don't give up so easily, damn it.
43:06Swallow your pride.
43:08Interest your life.
43:10Earn the respect of others like we've all done,
43:12breaking your spine.
43:14You know,
43:16I've always wanted you to be my successor.
43:19But as you go,
43:21you'll end up being Paula.
43:23Well, enjoy it.
43:28Let's go.
43:36Do we want cheese?
43:38Yes, in the kitchen.
43:53Pietro.
43:54Do you want more wine, Tonia?
43:56Wine, cheese, grapes, whatever you want, Pietro.
43:59But in the end, we're going to talk about the subject.
44:03Stop, please.
44:07Honey, listen to me.
44:10I understand that you're afraid.
44:12Yes.
44:14I'm afraid, Tonia.
44:17But it's not because of what you think.
44:19And what do I think?
44:22Do you think I'm afraid because of the surgery?
44:25Because of the pain?
44:27I'm afraid because...
44:29I can stay in the operating room, right?
44:32But no.
44:33It's not like that.
44:38I'm afraid that...
44:40we'll leave all our savings
44:43in this operation.
44:45And for nothing.
44:49I know you, Tonia.
44:51I know you very well.
44:53You're able to sell the house
44:55to help me.
44:57And you'll be left without a penny.
45:02And if we do it,
45:05it's for nothing.
45:09Honey, we're not going to pay anything.
45:12They're not going to charge us for the surgery.
45:15Dr. Quiroga told Mr. Fermin.
45:17The surgery is free.
45:19We just have to pay the room.
45:21And with that, you and I can do it perfectly.
45:23And if we couldn't, Mr. Fermin will help us.
45:27Free?
45:30But I didn't know that.
45:31I see.
45:33If you hadn't gone, you would have found out.
45:35And if you hadn't been avoiding me all day,
45:37I would have told you.
45:41You're right.
45:43Forgive me.
45:46I'm very sorry that you have to go through all this.
45:49Honey, listen to me.
45:52You're the patient.
45:53It's my turn to worry.
45:55Okay?
45:56You would do the same for me.
45:58Right?
46:00Yes.
46:02I would give my life for you.
46:05I'm not asking for much.
46:08I'm asking you to let yourself be healed.
46:11I'll always be with you, honey.
46:15Everything will be fine.
46:20We know that, Antonia.
46:22Yes.
46:24I know that.
46:26Everything will be fine.
46:29You'll get out of there as if nothing had happened.
46:33With an ugly scar on your head,
46:35but as handsome as ever.
46:40Hey.
46:46Are you sorry?
46:49It's worth it.
46:51We're going to talk to this doctor.
46:53Yes?
46:54Yes.
46:58Oh, honey.
47:07But then we're going to Plaza Mayor.
47:11To Plaza Mayor for what?
47:12To get a hat.
47:14I'm going to need it.
47:16Yes.
47:29It's late.
47:30I hope they haven't closed the gallery.
47:33No, don't worry.
47:35The guard will come to open it.
47:38Father, even if she told you,
47:40I wanted to thank you again for seeing Lieutenant Manzo.
47:44My daughter.
47:45A man who dresses up
47:47can't let anyone touch a hair
47:49to a member of his staff.
47:56Besides,
47:57let her remember
47:59that Lieutenant Tucho missed you too.
48:05If I tell you the truth,
48:07I think I should have asked him to apologize to you.
48:11But I thought...
48:13I thought it would do you a favor
48:15if I didn't have to put the drink in your face again.
48:18No, I thank you sincerely.
48:20I'd rather not see that man again in my life.
48:23Be careful that because of the bill he has,
48:25you won't run into him again.
48:27What?
48:30Don't tell me how the store is.
48:32It's going very well.
48:33If it weren't so late,
48:35I'd show you how I've set the genre.
48:37How have you set it?
48:39I've copied the new boutiques of Paris' La Rive Gauche.
48:42La Rive what?
48:44Of the La Rive Gauche, father.
48:46You know,
48:47the left bank of the Seine,
48:49the most bohemian neighborhoods.
48:51Of course I know what it is, silly.
48:53I'm not kidding with you.
48:55Why don't you show me?
48:57Seriously?
48:58Seriously.
49:00Okay.
49:02What's that?
49:05Where does that water come from?
49:07Paula, the store is flooding.
49:09Oh my God!
49:11Open, open.
49:14Where is the key?
49:16Hurry up, woman.
49:18Hurry up, it's flooding.
49:21Oh my God, come on.
49:23Paula.
49:25What is this?
49:28Everything inside is soaked.
49:30And we were fast.
49:32Do you know what happened exactly?
49:33A pipe in the ceiling that broke.
49:35This feeling of walking between life and death.
49:39Honey, don't say that, please.
49:40You're going to get out of this.
49:41I'm afraid.
49:42They told us it's a risky operation
49:44and that it can cause a spill.
49:47I hope it goes well.
49:49Ballesteros has already decided.
49:51And the person he has chosen
49:53is you.
49:54I'm a zero to the left in my house.
49:56I don't want to get there tonight.
49:58How can I stay doing inventory
50:00to get there a little later?
50:02And that silence?
50:03Has Leon already slept?
50:05I've given him the bottle, I've bathed him
50:07and he has fallen asleep.
50:08Oh, you don't know how much I appreciate it.
50:10After the failure of The Shadow of Love,
50:12the company's numbers don't come out.
50:14I need you to accept that role.
50:16It's not my fault that that movie didn't work
50:18or that you invested all your money.
50:20Why do you carry it with me?
50:21I was thinking about the Pedraza and the opinion
50:24you have of their marriage.
50:26And?
50:27It's hard for me to believe
50:28they're not a well-meaning couple.
50:29That marriage is a couple.
50:31I came to bring you his gloves.
50:33He forgot them at my place
50:34when he came for the budget.
50:36And was it really worth it to take this risk
50:38just to give me my gloves back?
50:40Do you think it's wrong?
50:41Quite the opposite.
50:43You're a very brave and gentlemanly man.
50:47I suppose you'd learn it in France.
50:49I didn't know you were aware of my biography.
50:51There's a lot of mystery around you.
50:54But I told you I didn't see her working as an actress.
50:56And I couldn't help it.
50:58How are you with Maruja?
51:00Sorry, sorry, I didn't want to bother you with the question.
51:05You're my soul mate.
51:06If I don't tell you these things,
51:07who am I going to tell them to?
51:09But if you want me to be completely honest,
51:11I've never been in love with her.
51:13But don't you realise that if we continue like this,
51:15our marriage is in danger?
51:17Our intimacy, our communication, our peace of mind.
51:20Look, Miguel, this isn't easy for me either.
51:22But you'll have to think of a way
51:24to get along better with my mother,
51:25because that's what it is.
51:27She's behaving very well
51:28and she's helping us a lot.
51:30I'm glad to see her in such a good mood
51:31and that she accepted my invitation
51:32to come back to our place.
51:34I've decided that it would be best
51:35to forget what happened.
51:37More than anything,
51:38because this is one of my favourite places in Madrid
51:40and because you're much nicer than your brother.
51:44Rodrigo wants to be a doctor.
51:46I think that if he's worked for you,
51:47if he's worked so hard
51:48and he's been a great help to you,
51:50there's no reason why you shouldn't help him
51:52to fulfil his dream.
51:53No, I need it.
51:55I'm sorry.
51:56I'm sorry, but there won't be a scholarship for Rodrigo.
51:59The other day, you caught me by surprise.
52:03We shouldn't talk about it again.
52:05Of course not,
52:06because if it happens again
52:07and you don't betray me,
52:09I'll kill you.
52:10I need to write my last will.
52:13I'm sorry to say this,
52:14but I need it.
52:15Pietro, please, don't ask me for money.
52:17You can die because I don't want to.
52:18Please, I can't.
52:20I can't.
52:22Are you going to force me, Emiliano?
52:25Are you going to force me?
52:26That's what cowards do.
52:28They don't know how to get things the other way.
52:30Maybe there's no other way
52:32than closing for a week,
52:34even if I don't like it at all.