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00:00A FEW HOURS LATER
00:12You seem to be hungry today.
00:15I didn't eat much yesterday, so I ate less.
00:21I hope Paula and Rodrigo are doing what I told them.
00:24If I find out they're still together, they'll find out.
00:28Both of them.
00:30I hope so too.
00:33We've raised Paula wrong.
00:35Now the girl does whatever she wants.
00:40What do you think of Rodrigo?
00:43I offer him the opportunity to work for me, to become my assistant.
00:46I trust him.
00:48Look how he abuses my trust.
00:51It's outrageous.
00:53Of course.
00:56And you stop giving me so much reason and react.
01:00Do your part.
01:01My opinion is known by both of them.
01:04I don't have your ways, Emiliano.
01:06But I've told them I don't like what they're doing.
01:09Your way?
01:10Yes.
01:12I hope you haven't apologized after scolding them.
01:16It wouldn't cost you anything to be a little more forceful.
01:19You see where we've ended up with your kind words.
01:22I'm sorry to disappoint you.
01:24But I don't like to repeat myself or make a scene.
01:27If you know what's best for them, you'll leave the relationship.
01:29And I think they're both sensible people.
01:32Your daughter...
01:33Of course.
01:34When Paula does something wrong, she's my daughter.
01:39Look, Emiliano.
01:40We both know what's going on.
01:42You love it.
01:44You whine, blaming me for the problems of this family and our children.
01:49But the only thing I ask of you
01:51is that you don't set me up like you did yesterday in front of Fermin and his wife.
01:57Good morning.
01:59You don't look well.
02:00Are you okay?
02:01Wait, wait.
02:02Let me answer you.
02:04He's not okay because yesterday he was very well.
02:08In a bar.
02:09Am I wrong?
02:12I went to bed late.
02:13That's all.
02:14And you look like that because you had nightmares.
02:17Right?
02:18Is that it?
02:19Come on, please.
02:20Another dog with that bone.
02:23You don't have to lie to us, Ivan.
02:25We know what you're like.
02:26Do you see what I mean?
02:28This.
02:29This is what happens for being so soft.
02:33And you should have enough gallardía
02:36to admit your part of responsibility.
02:38How can you forgive my responsibility?
02:41I am responsible for your clumsiness,
02:43for your cowardice.
02:45I have worked hard for this family so that we lack nothing.
02:48Enough!
02:52My head hurts and I don't want to hear you argue.
02:55You're always the same.
02:57It seems that the only thing you have in common
02:59is how much you like to screw up everything I do.
03:01I don't attack you,
03:02but it hurts to see how you waste time and your bad habits.
03:05And as long as you live under this roof,
03:07it is my obligation to tell you.
03:09Look, it's the role I've been given.
03:12At least you will have fulfilled the task I gave you yesterday.
03:16You went to Mr. Cuadrado's office to get your patents sealed, right?
03:20Yes, I went, but he wasn't there.
03:23What do you mean, he forgives?
03:25What do you mean he wasn't there?
03:27There was no one there.
03:28They told me they wouldn't be back for a few days.
03:31What are you telling me?
03:33We haven't sealed the documents.
03:35And you're telling me now?
03:37It doesn't matter, does it?
03:39I'll be back.
03:43You don't know what you're talking about.
03:46The deadline ended yesterday.
03:50I can't ask you for anything, Ivan.
03:52I can't ask you for anything.
03:54It's useless.
03:56Go get me the folders.
03:58Let's see if we can fix it.
04:00But do you see what's going on, son?
04:02You ask me for an opportunity, you tell me to trust you,
04:05and then you're not able to fulfill it with a simple message.
04:08Come on.
04:09Are you at least able to bring me the folders?
04:11Bring me the folders.
04:16Emiliano, do you think that way of addressing Ivan is the right one?
04:20It's not his fault they didn't attend to him.
04:23But it's his fault for not telling me immediately.
04:27With your problems,
04:29you take away his desire to make an effort.
04:31His desire to make an effort? But when has he had them?
04:34When has he had them, Maruja?
04:36He's irresponsible.
04:38And lazy.
04:40And I'm going to repeat it to his face as many times as it takes.
04:43Until he reacts.
04:44Well, here they are.
04:47Well, well.
04:51If you'll excuse me.
05:06Hello.
05:07Hello.
05:08Speak softly, I've just come from the walk.
05:11I'm going to take him to his room.
05:14Miguel has something to tell you.
05:16Yes, the truth is that yes, Leonora.
05:18But a little lower.
05:21Would you like to go for a walk this afternoon with me?
05:25I mean, you and me alone.
05:28No, wait, what madness is that?
05:31Are you out of your mind? You and me alone?
05:33On account of what?
05:34Let's see, let's see.
05:36Are you two going to be okay?
05:38Well, Leon and I, by the way, too.
05:41Come on, for a little bit of your part, Mom.
05:44I assure you that he will not regret giving me that time.
05:48He has already taken the first step, now it's your turn.
05:50I don't know if I have much to gain.
05:52Of course, woman.
05:54A relaxed conversation, a good walk,
05:57will help us talk about the little things that sometimes bother us,
06:01which, deep down, are nonsense.
06:03On both sides.
06:05I already know very well, I already know very well how you are.
06:09I have more important things to do.
06:12How to put the child in the room.
06:14Yes, and we will be eternally grateful to you,
06:19for everything you are doing,
06:21but your life cannot be limited to taking care of Leon
06:24and leaving the house simply when you have to walk him.
06:26No, besides, today I'm going out first,
06:28so I can stay with the child,
06:30and so you two go for a walk together,
06:32with a little air, you will be fine.
06:34Come on, Mom.
06:36Let me find out, let me find out.
06:39First he makes me answer a three-page questionnaire,
06:42now I have to go for a walk with him,
06:44what will be the next thing?
06:45Is he going to make me sign the authorization for a loan or something?
06:48Let's see, no one has ever died for a walk in life.
06:51Besides, look what company, look what ...
06:55It's okay, it's okay.
06:56I'm going for a walk with him, with him,
06:58so as not to hear more.
07:00When are we going to take that unforgettable walk?
07:04If you don't mind, it would have to be in the afternoon.
07:08I just have a partner who will come and close the bookstore.
07:12Well, if you don't mind, I prefer it to be a little earlier,
07:15because at that time I'm already at home with the kill.
07:17I can't at that time.
07:19My partner can't get there before.
07:21Okay, it will be the time the little man wants.
07:24I'll wait for you in the gallery then.
07:26Thank you very much.
07:28You will see how this walk
07:30will mark a before and after in our relationship.
07:35Perfect.
07:50Call her.
07:52Because what I want is for everyone to know that you are a murderer.
07:59You can't do that.
08:02Of course I can.
08:03And that's why I'm here.
08:05By the way, the press loves this kind of events.
08:13I'm sorry to insist, Mr. Fermin,
08:15but this time Herminia has exceeded.
08:18What happened?
08:19Well, it turns out that I was praying for Pietro's early recovery
08:22and she tried to stop me.
08:24Stop him? How? That can't be.
08:26You can pray whatever you want.
08:28How have you tried to stop him?
08:30All she does is change the stamps.
08:33I have them on the workbench,
08:35so the saints don't get dizzy.
08:37Well, she is very fond of San Peregrino.
08:41San Peregrino?
08:43Yes, yes, as you can hear.
08:45It turns out that I couldn't find the stamps
08:47and today she has returned them to me.
08:49The one of San Peregrino, San Judas Tadeo
08:51and the one of the Virgin of the Victory of Lepanto,
08:53which I am also a devotee of.
08:55It is very important for me that she does not spoil
08:57the relationship I have with those above.
08:59So that Pietro saves himself.
09:01Esperanza, I don't believe that Herminia
09:04is trying to hinder Pietro's healing.
09:07She says they are distracting him.
09:09You see, as if the saints were singing to her.
09:11It is very exaggerated and very maniacal.
09:14Esperanza, we are all a little nervous
09:17and worried about Pietro's health.
09:19We have to try not to add more tensions.
09:23She thinks she is alone in the world.
09:25Well, she is alone with her manias, of course.
09:27Esperanza, let's do one thing.
09:28If Herminia is so bothered by the stamps
09:31because they disconcentrate her or whatever,
09:33why don't you change them?
09:35I think the prayers will arrive anyway.
09:37In the wardrobe, for example.
09:39You want me to put them in the wardrobe?
09:41Of course.
09:44Well, don't worry, I'll do it.
09:46But not for her, I'll do it for you.
09:48Well, for Pietro, so that he heals.
09:52It's not open.
09:55Bad.
09:57Like the dog and the cat.
10:01Excuse me, I was not attending.
10:04How strange, normally you don't miss details.
10:08I'll be a little sleepy still.
10:10I'm going to make myself a coffee.
10:15Lázara, Lázara, wait a moment, please.
10:18Call me pesado if you want, but ...
10:22I need to know what's wrong with you.
10:25Nothing.
10:26Nothing.
10:28I've been reviewing the accounting books
10:31and at first I thought I was wrong,
10:33but I'm afraid I'm not.
10:36What's wrong?
10:38I don't want to scare you, Fermín.
10:40But I'm pretty sure we don't have liquidity.
10:43Check it yourself if you want.
10:46It's serious.
10:47And if we have an unforeseen event, I don't know what we would do.
10:52No, no, the numbers are correct, Lázara.
10:55What happens is that we have all our capital
10:57invested in Emiliano's company.
11:00But hey,
11:01and you don't care that anything comes up and we're defenseless?
11:05Well, I know it's not the ideal situation,
11:07but I'm sure that the investments we've made
11:10will bring us benefits, many and very soon.
11:13Yeah, but in the meantime,
11:15we're holding our breath here.
11:17Emiliano's companies go like a bullet, all of them.
11:19I know,
11:20but we are taking a very high risk
11:23and many salaries depend on us.
11:26Lázara, we have plenty of liquidity
11:28to face payroll and suppliers.
11:30Don't worry.
11:31Well, I disagree with you on that.
11:33I think the cash we have is not enough.
11:35If we need more, we'll look for it anywhere.
11:38Don't worry.
11:39Well, yes, I'm very worried and very calm when I see you.
11:45Lázara, let's see if I can understand you.
11:48Is it really because of the state of the accounts
11:50that you're worried about?
11:52Is that why?
11:53Well, yes.
11:55Of course it is.
11:58Fermín, you know that I have experience
12:00in high-profile places
12:02and I've seen things that no one saw coming.
12:04I hope that doesn't happen to us.
12:07Anyway, don't worry
12:09because I'm going to try to be confident
12:11that we'll soon get our money back
12:13and not go around in circles.
12:14Of course.
12:20By the way, Cielo,
12:22do we know anything about Pietro?
12:24How is he?
12:25No, I haven't been able to talk to Dr. Quiroga.
12:27But, well, let's hope that this absence of news
12:29is good news.
12:31Of course.
12:33I'm going to get that coffee.
12:35Of course.
12:44Inés, are you sure you're okay?
12:46Yes, yes, I'm fine.
12:47Yes, in a shoot you have to be prepared
12:49for anything unexpected that may arise.
12:51I see.
12:52But I understand that it would bother you
12:54if the shoot was extended
12:55and that it was partly my fault.
12:57No, it's not your fault.
12:58No, no.
12:59Yes, I think it's great
13:00that Ballesteros is excited about you.
13:02I mean, if there's no problem
13:04that he's given you more text.
13:06Well, but if it bothers you,
13:08it's normal because it affects you.
13:10It affects me too, but in a different way.
13:12No, really.
13:13If the only problem
13:14is that they haven't given us
13:15the new sequences
13:16that we're going to shoot this afternoon,
13:18because we still have to prepare them and rehearse them.
13:20I see.
13:21Do you think it's going to be very long or very difficult?
13:24Well, I don't know.
13:25I don't know because Ballesteros
13:26didn't make it very clear.
13:27He just said that he wanted to add more text
13:29to understand Eugenia's character,
13:31that is, your character.
13:35Hi.
13:36Ballesteros is in a hurry.
13:38He has the screenwriter writing the text
13:40and he doesn't stop telling him
13:41to turn it over, turn it over, turn it over.
13:43Even I got dizzy with so many turns.
13:45He told me that in a while he would have the text.
13:47But I'm telling you
13:48that nothing good can come out
13:49when you work in such a hurry,
13:50with so many turns
13:51and with so much drastic change.
13:54And you know what the sequences are about?
13:56Well, no.
13:57I just know that one is for you
13:58and the other one is for your sister.
14:00But I don't know how it's going to end.
14:02Maybe you don't know how unpredictable it is.
14:04Well, let's see where this man comes from now.
14:07I'm a little bit of vertigo
14:08that Ballesteros is changing the text at this point,
14:10with everything that I play economically
14:11and professionally with this film.
14:13Yeah.
14:14Well, we will do our best.
14:17Yes, that's it.
14:18And what would be good
14:19is to have the text as soon as possible
14:20to be able to rehearse it
14:21so that they are perfect.
14:23Anyway, I'm going to La Moderna for a moment
14:25to see if the guy invites me to a coffee.
14:27Are you coming?
14:29You go, I'm going now.
14:31Okay.
14:42Come in.
14:45Good morning.
14:46Sir, how can I help you?
14:47Or should I understand
14:48that you want us to talk about Paula
14:49and our relationship?
14:50No, no.
14:51I don't want to talk about that matter now.
14:53Everything has already been discussed, Rodrigo.
14:55I assume that story
14:56is a mistake of the past and period.
14:58Yes, of course.
14:59But another time I would like to explain ...
15:01Exactly, you said it.
15:02Another time.
15:03Now I need you to help me fix a problem.
15:07You see,
15:08yesterday I asked Iván
15:09to request the renewal of the patent
15:11and he says that they did not attend him.
15:12That dealing with Iván
15:13I know it's hard to believe.
15:14But this time he tells the truth.
15:15Do you want me to take care of it?
15:17No, no, no, no.
15:18I personally take care of that matter.
15:20You see, I am very afraid
15:21that this Mr. Cuadrado
15:22is playing a trick on us
15:23and that his absence is not casual.
15:25So what I want you to do
15:26is to locate this Cuadrado to me
15:28anyway.
15:29Call the ministry,
15:30call his house,
15:31call the devil himself if necessary.
15:33But locate him.
15:34Because as he is playing dirty,
15:36I swear he will pay for it.
15:38Very expensive.
15:39I'll get to it.
15:41See you later.
15:47Son.
15:49Mother.
15:50I've heard it.
15:51I've heard it.
15:53He wants you to get rid of Iván's troubles.
15:55He has a confrontation every day.
15:57This boy doesn't take care of anything.
15:59That's right.
16:00I have to take care of some management
16:02so that Mr. Emiliano can send a documentation
16:04that Iván should have sent.
16:05Please.
16:06Take advantage of any opportunity
16:08to show him that you have understood
16:10that he is disgusted
16:11and that you know that Pablo,
16:12that you have made a mistake
16:13and a lot.
16:14Let him see that you are sorry.
16:17Please.
16:19Are you listening to me?
16:20Yes, mother.
16:22The problem is that you all think
16:23that what I have with Paula is a whim
16:25and it is not for either of us.
16:26We are not going to stop loving each other from one day to the next.
16:30Something I had to do wrong
16:31so that I couldn't get you in trouble
16:33and it was that yours is impossible.
16:34You haven't done anything wrong.
16:35Oh, no?
16:36No.
16:37Then I could make you understand
16:39that yours can't be.
16:40That two people as different as Paula and you
16:43can never be together.
16:44I do think we can be together
16:46because I know what I feel for her
16:48and what she feels for me.
16:50Do you know what everyone is going to think?
16:53That you have taken advantage of the closeness
16:54and generosity of the gentlemen
16:55to conquer her.
16:56That's what they're going to think.
16:57That's not true.
16:58And it is not fair that we are pointed out
16:59for being of different social classes.
17:01We will have less money, less power,
17:04but because we are poor
17:05we are not worthy of deserving to love
17:06or be loved.
17:08Well, of course.
17:09But for those who are like you.
17:11And go for it.
17:12I love Paula.
17:15Son, I know this is unfair,
17:18but I have learned based on disgust
17:19not to dream too much.
17:21Because those dreams can turn against you
17:23and destroy your heart.
17:28Mara, I know I did it for my own good,
17:29but this is my life
17:30and I will make my own decisions.
17:42I'm sorry to insist,
17:43but do you know if it's going to be too long
17:44or if I'm going to have to study a lot?
17:45I'm a little worried.
17:47I have no idea, really.
17:48It doesn't let go of me.
17:50And it has me already.
17:53And if they go on like this,
17:54I don't know how long
17:56the unimaginable of Ballesteros
17:57is going to make me lose my patience.
18:02But well, no.
18:04I know none of this is your fault.
18:07In fact, I know that your character
18:08has grown a lot and is very good.
18:09I don't want to put more pressure on you.
18:11But I really think it is very important
18:12both for the film
18:13and for the company
18:14that the shooting ends today.
18:15No, no, don't worry.
18:16Yes, now I understand what Inés was saying.
18:18This world is very stressful.
18:20You are doing quite well.
18:21For me it would be more complicated.
18:23No, no, but this is not normal.
18:24It's all this man's fault.
18:26I have quoted the whole team in the gallery.
18:30And do you know what comes to mind
18:31when you think of Pacotilla?
18:34What?
18:35Well, the brilliant idea
18:37of locating in an exterior.
18:39It has me at the limit, Laura.
18:42At the limit.
18:43But I'll tell you one thing.
18:44I'm going to ask the text now
18:45and if you don't give it to me
18:46we're going to have a problem.
18:47Give me a moment.
18:50Give me a moment.
19:03Well, thank goodness.
19:06An eternity for two sequences.
19:08There are both, Inés' and mine.
19:10Yes, yes.
19:11I take Inés' one.
19:12It's half a page and this is yours.
19:16Good.
19:18Two pages.
19:20It's practically a monologue.
19:22I'll have to study the conscience.
19:25To see what it's about.
19:26Well, let's hope it's worth it
19:28after all the fuss
19:29we've given to the shooting plan.
19:32Well, I'll let you concentrate.
19:35Laura, I'm sorry to have to ask you,
19:39but the sequence has to come out today.
19:41We don't have many more opportunities.
19:43Goodbye.
19:53So you have to be very happy
19:55with the success of your last auction.
19:57Happy?
19:58That's too short.
19:59We've raised a lot of money
20:01from the funds of those expected.
20:03It's obvious that you understand finance.
20:05I should learn from you.
20:07The other day a friend came
20:08with a liquidity problem
20:09and I couldn't even help her.
20:11What kind of problem?
20:13You know that if I can help you,
20:15I'll do it with pleasure.
20:17Well, she needed immediate liquidity
20:20for a matter that...
20:22Well, I couldn't tell her husband.
20:27The best thing in these cases
20:29is to falsify the husband's signature.
20:37Oh, Marujano, I don't see her
20:39doing that to her husband.
20:41And look at her with water on her neck.
20:43I see her quite desperate,
20:45and I'm very sorry.
20:46Well, if she's in such a hurry,
20:47maybe I can give the card
20:49to Emiliano's manager.
20:50He's a very serious advisor, very capable.
20:52And he handles liquidity issues well.
20:54Well, I thank you very much, Maruja.
20:56On my behalf and on behalf of my friend.
20:58And now you're going to have to forgive me,
21:00but I have a lot to do.
21:01From now on,
21:02if you take anything else,
21:03it's on me.
21:04No, no, don't bother.
21:05And that's what friends are for.
21:07To help each other
21:08when the situation requires it.
21:11Bon appetit.
21:22Good morning, Mrs. Pedraza.
21:24Cesar, Mercedes.
21:26What a pleasant surprise.
21:28Are you coming for breakfast?
21:30No, we came to buy some sweets.
21:33A pleasure to see you.
21:36I'll go.
21:41Was the breakfast an early invitation?
21:43Because if so,
21:44I wouldn't mind having breakfast again
21:46as long as it's with you.
21:49I'm sorry to disappoint you,
21:51but it was a courtesy question.
21:54Although I appreciate the kindness
21:56and the interest.
21:58I insist on the interest,
21:59so it's clear.
22:02It's a shame.
22:03Because I don't usually have breakfast twice.
22:06As soon as I get out of bed,
22:08I have my first coffee.
22:10Sometimes I even like to have it in bed.
22:14Sometimes it's good to take the day
22:16calmly and enjoying it.
22:20But don't you think what we miss is what we're going to have?
22:24Then it wouldn't be breakfast anymore.
22:27It would be something else.
22:29I'm not so sure.
22:31But if you want,
22:32we can meet one day and check it,
22:33so we can get out of doubt.
22:35I'm sorry, Cesar.
22:36But I remind you that I'm a married woman
22:39and that there are doubts I don't want to clear.
22:43Can I help you?
22:46Since you say it,
22:47I'd like us to forget what happened.
22:51So there's something to forget?
22:53I think you understood me perfectly.
22:55Of course I understood you.
22:58I'm just asking if I could do something for you.
23:01Please, don't say another word.
23:03Don't even mention it.
23:04I have too many problems at home.
23:07How can I complicate them with more stories?
23:10Of course.
23:12I've never wanted to be a problem for you.
23:14On the contrary.
23:17I just wanted to tell you that if you ever want to talk,
23:19I'm here for you.
23:22Well, keep it up then.
23:25Have a nice day.
23:37See you later.
23:47So...
23:48How did it go?
23:50From the showman,
23:52it doesn't look like your friend had many things to talk to you about.
23:56Many?
23:58Actually, none.
24:01So?
24:04I take your discomfort as the best reward, sis.
24:10I still don't understand you.
24:12You don't have to for now.
24:14But you can't just walk away.
24:19Something's going to happen between that woman and me.
24:22I don't know what,
24:24but whatever it is, it'll happen.
24:30San Peregrino.
24:32San Judas Tadeo.
24:34Virgin of the victory of Lepanto.
24:36All I ask is that Pietro gets well.
24:39Oh my God.
24:41Yes, I know we have our ups and downs.
24:44But please get well.
24:46For him.
24:47For poor Antonia.
24:49And for all that we appreciate about him.
24:51That we are a lot.
24:53And don't tell me that the bouquet I brought you doesn't have lustre.
24:56So please, I beg you.
24:59Make it good for your health.
25:01If you bring it to me as a friend, not as a beggar,
25:03it's better than better. Amen.
25:07I'm sorry, Mrs. Teresa.
25:09I'm going out.
25:11I was praying for Pietro as God commands.
25:14I hope your prayers come true.
25:16Your prayers and the good wishes of all the staff.
25:18Because we all want him to come back.
25:21Well, all of us, I don't know.
25:23If he doesn't get well,
25:25he hooks up with Arminia and has no room to run.
25:28Why do you say that?
25:29What does that woman do?
25:30She makes me change the stamps of places.
25:32As if I was playing cards.
25:33Of course.
25:34She does it to send bad energy to Pietro.
25:37And to keep her position.
25:39Esperanza, don't say nonsense.
25:41Let's see, Pietro is going to get well.
25:43But if he didn't, it wouldn't be Arminia's fault.
25:45No one has that power over people's health.
25:47You don't know what it is, Mar de O.
25:50Andy, Andy.
25:51Let's not start with superstitions with everything we already have.
25:54Listen to me, Teresa.
25:56What is that woman worse than the sister?
25:58My God, she has cast an evil eye on Pietro
26:00to keep her position.
26:02She is worse than the sister.
26:03Really, Esperanza, when she thinks badly of people,
26:06I don't know.
26:07As my grandmother always said,
26:09think badly and you will succeed.
26:11But it's not always like that.
26:12So come on, let's go to work.
26:14Antonio, what are you doing here?
26:16Is Pietro okay?
26:17Yes, Pietro is fine.
26:18Well, not only is he fine,
26:19but he is out of danger.
26:21Oh, how nice.
26:22How nice.
26:24Well, tell us.
26:25What else do the doctors say?
26:27Well, Dr. Quiroga says everything is going well.
26:30For now, everything is going well.
26:32The truth is that with the days we've been through,
26:34I don't wish that on anyone, on anyone.
26:36In the end, one wants to believe that everything is going to be fine,
26:40but the bad omens pile up on one's head.
26:46Tomorrow I bring you more flowers.
26:48I already knew I was going to get sick.
26:51I already knew I was going to be good to my Pietro.
26:54Well, to your Pietro.
26:55And you are not going to thank the saints and the virgins?
26:58Well, yes, yes, of course.
27:00Well, also to Dr. Quiroga and all the hospital staff,
27:03who don't know how they have watched over Pietro.
27:06And you in La Moderna,
27:08I know you have thought a lot about him.
27:10You really have won heaven.
27:12Oh, I hope that from now on everything goes better.
27:15I'm sure it will.
27:16And in less than what a rooster sings,
27:18we have Pietro back again.
27:20And let's see if he invites me to something.
27:22Because, come on, my tongue is full of so many prayers.
27:26Yes, yes.
27:27Give me another hug.
27:38I have already fulfilled my mission
27:40and with the memory of my dear Eduardo.
27:42Perfect, Inés. I wouldn't change anything.
27:45But that's it. I don't say anything else.
27:47What else do you want to say? It's perfect.
27:49One thing is the drama and the other the explanations
27:51that are useless.
27:52But it's very short.
27:53There are extras who have more text
27:55and, I don't know, I think it's a pretty rough farewell, really.
27:58The less text, the more emotion.
27:59Come on, let's shoot.
28:01Well, then, do you already know the scene?
28:04Yes, yes, I threatened to know it.
28:06Although it is a bit complicated for me.
28:08I see.
28:09We are going to shoot Inés' scene
28:11and we stop to eat.
28:13And in the afternoon we dedicate it entirely to your scene.
28:15Do you have it?
28:17I have it.
28:18What do you think of the text? Sincerely.
28:21It's very good.
28:23It's a very sensitive text.
28:26I'm glad.
28:28You'll see how we finish all this today
28:30and we make a masterpiece.
28:31I'm sure you will.
28:35I think I'm going to eat at home.
28:38There I will have more time to prepare.
28:40Tell the team that I'm leaving.
28:42I'll be on time.
28:43Yes, no problem. What you need.
28:44Anyway, really, the scene is so complicated.
28:48It's something difficult for me.
28:51There I will concentrate better.
28:53It's just that there is a lot of fuss here.
28:55Perfect, for my part, yes.
28:57Anyway, let the driver know
28:58so he can take you and bring you home.
29:00Done. Goodbye.
29:02Come on, silence!
29:04Let's shoot.
29:06Action!
29:11And action!
29:15I have already fulfilled my mission
29:17with the memory of my dear Eduardo.
29:20Cut! We'll do it again.
29:23What?
29:24You're going to make me another take?
29:25Even if it's for security?
29:26The take has been perfect
29:27and I need to save meters of film
29:29for your sister's scene,
29:30which is a little more complicated than yours.
29:32But hey, we'll do that later.
29:48Can you tell me what you're doing here?
29:50We hadn't made any appointments.
29:52I know, Lazaro,
29:53but you don't answer the correspondence.
29:56And that's not right.
29:58Because I need the money.
30:00I received your letter, yes.
30:02But I need you to be patient.
30:04It's going to take me some time to gather that amount of money.
30:07When I do, I'll make you a proposal.
30:10A good offer.
30:12Don't worry.
30:13Well, I do worry.
30:15What's your husband going to think
30:17when he finds out he's married to a murderer?
30:20I'm looking forward to seeing his face
30:22when he sees you carrying a dead man on your back.
30:26I hope you don't do that.
30:28I repeat...
30:29Oh, I get the impression
30:31that you don't think I'm capable of doing it.
30:34But I'm going to prove it to you.
30:36Stay there.
30:42What's going on?
30:44What's going on?
30:45After all this time in charge,
30:47you don't know what it's like to obey?
30:50Don't you realize I'm in charge now?
30:52Don't force me, Juana.
30:54What?
30:55Don't force you what?
30:57Don't you want to put on a show?
31:01Wait for me in the alley.
31:02We'll talk there more calmly.
31:04Oh, but first I'm going to say hello to your new husband.
31:07Lazara, dear, I was looking for you.
31:10Is there a problem?
31:11None.
31:12As I was saying,
31:14we're very sorry for the inconvenience,
31:16but we'll compensate you.
31:18Are you sure you can compensate me?
31:21Lazara, is something wrong?
31:23No, no, no, no.
31:24This lady is not happy with the Swiss order she made yesterday.
31:29I've already explained to her that Pietro is on leave
31:31and maybe the taste of the sweets is different.
31:35But really, we'll compensate you.
31:37I'm sorry too, ma'am, but don't worry
31:39because Mrs. Lazara will compensate you as you should.
31:42Lazara, I have to go and do some management.
31:44See you later.
31:48Well, I've heard it.
31:49If you're so kind.
31:52I'm not leaving without a figure.
31:55And I hope it's quantitative.
31:57I know you've got good quarters after the wedding
32:00with this poor man you've deceived.
32:02I don't know how to tell you, Juana.
32:04We have no liquidity, so give me time.
32:07Give me a figure first.
32:10And then we'll see.
32:32I want ten more times.
32:34And I want it now.
32:36If not, you know what you're getting yourself into.
32:43Murderer.
32:57Focus on the eyes.
32:59Don't lose it.
33:00You can go in a little more because the shot is very close.
33:04Have you read Laurita's sequence?
33:06Well, the truth is no.
33:09What I know is that it was like two pages of script.
33:12Well, a manuscript, practically.
33:15What is true is that your sister is taking it very seriously.
33:18Yes, it seems so.
33:19In fact, I think she's already dressed and make-up.
33:21Yes, look at her.
33:24Come on, silence.
33:27Let's shoot.
33:30Something's wrong with Laurita.
33:32No, I think she's already focused.
33:34She's already focused on the scene.
33:36No, no, no. I know her.
33:38There's something else.
33:41Come on, engine.
33:47And action.
33:54Cut, cut.
33:56First position.
34:00Are you okay?
34:01Have you lost your text?
34:02No, no.
34:04I have a dry throat.
34:06A glass of water for the artist, please.
34:11Come on, focus.
34:16Come on, engine.
34:21And action.
34:30I can't.
34:31I can't, I'm sorry.
34:32It's too much, I can't.
34:33Laurita, Laurita, look at me.
34:34Look at me, please.
34:35Do you want to stop?
34:36Do you want to?
34:37Yes, but I can't.
34:53And that face?
34:55It looks like you've seen a ghost.
34:57I hope you clean your hands before you get on the bike.
34:59You're going to lose fat.
35:01I will, yes.
35:03I had thought of going out for a while and taking a walk,
35:05so I can clear my mind.
35:06Are you in?
35:07I would like to follow you with the car as usual,
35:09but it's not in the oven.
35:13Paula, don't look at me like that.
35:15I can't take the car.
35:17Before it was worth any excuse, but not anymore.
35:19They're going to look at us with a magnifying glass.
35:21And why don't you come with me on the bike?
35:23You sit behind, give us some air.
35:25No, Paula.
35:27Your father would find out, and that would make things worse.
35:29I've been working with him,
35:31and it seems like we've stopped seeing each other.
35:33If he finds out that I'm disobeying him,
35:35it would give him something, or worse,
35:37to know how he would react.
35:39And I don't want any more reprimands.
35:41I'm sure it's been a very tense moment.
35:43I feel like you've had to go through that.
35:45There's no other way.
35:47Let's hope he lowers his anger.
35:49Hopefully.
35:51But it won't be easy.
35:53He hasn't even allowed me to talk about it.
35:55We've only talked about work.
35:57I'm fed up with so many warnings
35:59between him and my mother.
36:01And what has your mother told you?
36:03Nothing new.
36:05That we can't be together, that we're different,
36:07that we have nothing to do.
36:09We can't count on her either.
36:11Anyway,
36:13did you do the interview?
36:15Yes, although it would have been better if I hadn't.
36:17Because I had my head elsewhere,
36:19and that woman kept asking me questions.
36:21And what did you expect from a journalist?
36:23Yeah, but she wasn't very nice.
36:25She kept talking to me,
36:27and I was a little dry.
36:29You'll see what report I get tomorrow.
36:33Paula.
36:35What do you want me to do?
36:37I miss you.
36:39Go away.
36:41But promise me you'll be careful, please.
36:43I promise you nothing.
36:45Lately, running is the only thing
36:47that makes me feel free.
36:51Bye.
37:01Well, you've started already, Miguel.
37:03It seems you're telling me a movie
37:05like the one they shot in the gallery.
37:07The plan is very simple.
37:09When Leonora comes, I'll tell her I can't go with her.
37:11At that moment, Elias will show up,
37:13because I'm meeting him when he finishes his shift.
37:15And I'll tell her that since he's here,
37:17why don't you both go for a walk?
37:19Bravo.
37:21Bravo.
37:23And bravo, Miguel.
37:25What a way to deal with the situation.
37:27You're an ace, my friend.
37:29Shut up, shut up, Leonora's coming.
37:31You hide and follow me.
37:37Hello, Cañete.
37:39You're not here yet?
37:41And I was in a hurry.
37:43I'm sorry, Leonora.
37:45I was just telling my friend Cañete
37:47that it had been unexpected.
37:49With all the pain in my heart,
37:51I couldn't go with you for that walk.
37:53The partner who had to cover me
37:55got sick and...
37:57And?
37:59And now what do I do, Miguel?
38:01What do I do?
38:03You make me come here so late.
38:05And now what?
38:07I knew I couldn't trust you.
38:09Well, with all due respect, ma'am,
38:11what fault does Miguel have
38:13that his replacement got sick?
38:15I'm sure he did it on purpose.
38:17No, ma'am, how can I do that
38:19with the love I'm getting
38:21and how much he helps us with Leon?
38:27Elias!
38:29Well, well, well, what a welcome.
38:31At your feet, ma'am.
38:33What a joy to see you.
38:35Likewise, but I wish it were in other circumstances.
38:37And that? Why? What happened to you?
38:39For nothing, I came to take a walk
38:41with my son-in-law and now it turns out
38:43he can't and I have to go where I came from.
38:47I have an idea.
38:49Since he's here, why don't you go for a walk with Elias?
38:51It's a wonderful day.
38:53More than wonderful.
38:55If Miguel and I didn't have to work,
38:57we'd go for a walk too.
38:59Well, what do you say, Elias?
39:01To be a coincidence of this one,
39:03isn't it crazy?
39:05Well, I think it's a great idea.
39:07We could go to the Retiro to take a walk,
39:09which in this time of year is beautiful.
39:11Gustavo from Madrid, I told him, the Retiro.
39:13The Retiro. In this time of year.
39:15Well, what a coincidence.
39:17Maybe we have a lot in common
39:19and here we are both without knowing it.
39:21Yes, I love it. It's just that it's very trendy lately.
39:23It's fashionable now.
39:25Like what some gentlemen do to put on high heels.
39:27Have you ever worn them?
39:29Me? No, why?
39:31Well, they style a lot.
39:33I think they would give you more wings.
39:35That's not bad, huh?
39:37Yeah.
39:39I knew it. I wasn't going to be up to it.
39:41What things do you have, mother-in-law?
39:43Elias with high heels,
39:45but if it's a figurine,
39:47a man in his right proportions, huh, Cañete?
39:49Well, no. There's nothing more to see.
39:51Well, the other night in Madrid Cabaret,
39:53they confused him with a bullfighter.
39:55Oh yeah? Oh, tell me about it.
39:57You hadn't told me.
39:59No, no.
40:01I'm sorry.
40:03If you'll excuse me, I have to go back to my room.
40:09You and your ideas
40:11bring me down the path of bitterness.
40:13I'm not going to let another one pass.
40:15Not another one. I'm going to the retreat alone.
40:17Good afternoon, Cañete.
40:25What a disaster.
40:27I thought Elias would help,
40:29but...
40:31And he panicked.
40:33The high heels thing was criminal.
40:35He felt insecure, normal.
40:37This lady makes you feel one less.
40:39Well, Miguel,
40:41at least she didn't get mad at you.
40:43She's reserving herself for when I get home.
40:45This fake walk doesn't forgive me.
40:47I assure you.
40:59Here.
41:01You're calmer now.
41:03It's just that I think
41:05I have to say something
41:07in front of the camera, Inés.
41:09Laurita,
41:11I'd love to help you,
41:13but I don't know if you want to talk about it.
41:19The scene I had to do today.
41:21Eugenia, my character,
41:23is pregnant
41:25and her boyfriend forces her to abort.
41:29I understand everything, Anaquil.
41:31Anaquil.
41:33Anaquil.
41:41When I read it,
41:43the world fell at my feet,
41:45but I swear
41:47I thought I could do it.
41:51But it's about putting myself in a situation
41:53and having Fernando in my head.
41:57I was ashamed.
41:59I don't know if he was a good actor.
42:01He fooled us all.
42:03Look, Laurita,
42:05what I would do
42:07is take advantage of the scene
42:09to overcome what happened to you.
42:11With Fernando and the baby?
42:13Or not?
42:15The one who was going to be my baby?
42:17I don't think I can.
42:19But it would be like an exorcism.
42:23Because if you transmit in the scene
42:25all that pain you felt,
42:27you will surely expel it forever.
42:31And it would be something
42:33very real.
42:35No, because that's something
42:37that professional actors like you
42:39can do, Inés.
42:41I'm just a newbie.
42:43I'm sure I'll try it
42:45and my legs will tremble in front of Ballesteros.
42:47No, Laurita, you're an actress
42:49like the cup of a pine tree.
42:51No, what you are is an idiot
42:53who can't overcome her past.
42:55But you are capable of doing it.
42:57Really.
42:59What happened with Fernando is a thing of the past.
43:01And your story
43:03is much braver than Eugenia's.
43:05Don't say nonsense, Inés, please.
43:07Laurita, Eugenia doesn't even
43:09reach you to the sole of your shoes.
43:11It's about you listening to me,
43:13not about you trying to give me your ears.
43:15Look,
43:17I remind you that
43:19you wanted to continue with the pregnancy
43:21despite Collado's pressures.
43:23You were very brave.
43:25You overcame that,
43:27the robbery, the loss of the baby.
43:29You are strong enough
43:31to shoot a scene
43:33with Pacotilla.
43:35But it's not the same.
43:37I know,
43:39but cinema is a lie.
43:41The actors, the sets,
43:43it's all an illusion.
43:45But what does it have to do with it?
43:47You've already done
43:49the most difficult thing,
43:51which is to be brave in real life.
43:53Now you have the easiest thing left,
43:55which is to be brave
43:57in front of a camera.
44:17Where are you going? Are you going out again?
44:19What can I do, mom?
44:21There are a couple of commitments I can't cancel.
44:23Well, it wouldn't be bad if you did.
44:25You can't be so good at going out.
44:31Good evening, dad.
44:33My God, Emiliano, what a bad genius.
44:35What's wrong with you?
44:37What's wrong with me?
44:39Ask me that.
44:41Can we help you with something?
44:43I'm sure what happens to you has a solution.
44:45You would have it if you had acted
44:47responsibly.
44:49Because of you,
44:51I haven't been able to renew the patent
44:53for the synthetic fiber.
44:55Because of me?
44:57I told you it wasn't there.
44:59I know.
45:01And I know because I've checked it.
45:03The fact is that it's still missing.
45:05So yes,
45:07indeed,
45:09there's something terribly dirty here.
45:11But that's not the point.
45:13Your obligation
45:15was to inform me of the incident.
45:17And no. What did you do?
45:19You went on a strike.
45:21And you made me waste precious time.
45:23Don't worry, there must be a way to fix it.
45:25No.
45:27Today was the last day for the renewal.
45:29And deadlines are strict.
45:31So it's over.
45:33Brilliant management, your son's.
45:37I...
45:39If I had known it was the last day
45:41to renew the patents, I would have come right away.
45:43I would have.
45:45You know, son,
45:47the day you decide to behave like a man,
45:49you'll realize that in business
45:51you have to deal in terms of the present,
45:53not the past.
45:55And that a man's word is worth
45:57more than a thousand carats.
45:59First there's the obligation,
46:01and then the pleasure.
46:03But of course, you don't understand that.
46:05And what do you want me to tell you?
46:07Didn't you tell me
46:09it was so transcendent and so urgent?
46:11Ah, so it's my fault.
46:13No.
46:15Yes, yes, yes, that's it.
46:17It's my fault.
46:19So you don't do what I ask of you,
46:21you don't take responsibility,
46:23and now you act like a victim.
46:25Tell me.
46:27Tell me. It's my fault.
46:29Damn the time I gave you a simple management
46:31that Rodrigo should have done.
46:33I'm not blaming you.
46:35I'm just saying I didn't know
46:37it was the last day to renew the patent.
46:39And because of your ignorance,
46:41you've caused another disaster.
46:43But it's okay.
46:45It's okay. I'm used to
46:47no one doing anything right in this family.
46:49Emiliano, please.
46:51What do you want, Maruja? Are you going to intercede for him?
46:53Again?
46:55We've been putting up with him for years.
46:57I can't get used to such uselessness.
46:59Dad!
47:01It was a mistake.
47:03Don't exaggerate.
47:05And if you're so tense,
47:07I'm going to tell you one thing.
47:09Since my new project failed because of you,
47:11because of your negligence,
47:13because of your lightness,
47:15I won't answer.
47:17Emiliano, please relax.
47:19Ivan, apologize to him.
47:21Instead of a house,
47:23this looks like a battlefield.
47:25Defend him. That's it.
47:27Defend him so he can hide his shortcomings
47:29under your skirt.
47:31Please, Maruja, act like a mother.
47:33For once. It's never too late.
47:35I don't want any of us
47:37to comply with your demands. I'm sorry.
47:39What demands?
47:41What demands?
47:43It's a lot to ask that in this family
47:45no one takes their feet off the ground.
47:47You're consenting to these remorses we have for a son.
47:49Dad, that's enough.
47:51This lazy rascal,
47:53dynamiting the family's business,
47:55and then my dear Paula,
47:57falling in love with the service.
47:59But you're competing to see
48:01which of the three is more unconscious.
48:03God!
48:05What punishment have you sent me with this family?
48:07What nonsense are you talking about?
48:09No.
48:11Those of you who have no idea
48:13what's going on are you.
48:15Enjoy. Enjoy all of this.
48:17Kill every cent.
48:19Because you have little left.
48:21Emiliano, I can understand
48:23that you're upset. I understand.
48:25But you have no right.
48:27This is excessive,
48:29and it's completely out of place.
48:31Do you have any idea
48:33what it means not to have renewed that patent?
48:35Do you know the word ruin?
48:41Ruin.
48:45Because if that was your purpose,
48:47now's the time.
48:49You've got it.
48:51Ruin.
49:01Ruin.
49:03I don't know what to do with this guy.
49:05We're out of time.
49:07I can start the process right now,
49:09but I'll tell you again
49:11how long it takes to process a patent.
49:13And in that time,
49:15the competition has taken the lead.
49:17We've broken the rules, Paula.
49:19We've broken them because they're arbitrary and unfair.
49:21The point is that we've broken them
49:23knowingly.
49:25Otherwise, why do we always see each other in secret?
49:27If you know any official
49:29who's willing to accept a compensation,
49:31a commission,
49:33anything,
49:35you just have to give me a number.
49:43How do I hold my soul
49:45so that it doesn't touch yours?
49:47Has the day arrived?
49:49A moment ago.
49:51And how did you know it was me who sent it?
49:53Who else?
49:55I was going to send a book of poetry.
49:57You're not going to say sorry.
49:59You're going to have to swear that you're not going to see your daughter again.
50:03And you only have to kneel if necessary
50:05so that she has no doubt
50:07that this matter is buried and more than buried.
50:09Do you know where you're going?
50:11Emiliano Pedraza
50:13is a very powerful man.
50:15And powerful people
50:17are usually very vengeful.
50:19Emiliano Pedraza
50:21has nothing to take revenge on me
50:23because I haven't done anything to him.
50:25For now.
50:27Who would have thought that one day he was going to swear like that?
50:29When I see his face, he's going to hear me.
50:31Where is he?
50:33He's in the dining room upstairs.
50:35No, no, no. Don't crush him.
50:37The poor thing is devastated.
50:39He says he doesn't have the courage to look Leonora in the eye.
50:41He's too little of a man for so many women.
50:43And when is he coming home?
50:45This afternoon. I have to pick him up at the hospital.
50:47Today?
50:49But what a way to recover, right?
50:51It's almost miraculous.
50:53Yes, but he's going to do it at home.
50:55Are you going to tell me what's wrong with that scene?
50:57Well, Agustín is delicate.
50:59He has bad memories.
51:01Inés.
51:05It seems that your sister has attacked.
51:07Do you want to shut up?
51:09I promise you that from now on I will put all my effort in anything you send me.
51:11You don't listen to me.
51:13Because I told you
51:15I'm not going to ask you for anything again.
51:17But nothing. Never again.
51:19You never make a mistake.
51:21I made a mistake with you.
51:23Well, if you don't want anything else ...
51:25One more thing.
51:29Where can we get a gun?
51:33A gun?
51:35The one to shoot?
51:37I wanted to apologize to you
51:39because the last thing I would have wanted in this life
51:41is to cause you discomfort.
51:43Apologies accepted.
51:47I know how it feels.
51:49Now the important thing
51:51is that everything is over.