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00:00What do you think?
00:04This new boutique is more than a fashion store.
00:08It's an art gallery because that's Paula Pedraza,
00:12a terrible fashion child, a person who breaks molds.
00:17It's not surprising that she always has a line of customers
00:20waiting to get the last piece at incredible prices.
00:24Here you go.
00:27A terrible fan.
00:29In any case, it would have been a terrible fit.
00:32A fan is masculine, I say.
00:34Don't be so demanding, she's putting you in the clouds.
00:37Yeah, that's true.
00:38I should send her a little detail or something
00:40because the way I was that day, I thought I was going to get much worse.
00:43I guess God squeezes but doesn't drown.
00:47And how did you see your father?
00:50He's climbing the walls.
00:52For our sake.
00:53Also, but not just for that.
00:56He's got a huge problem with the company now.
00:58My brother has gotten to the bottom of it.
01:00I'm aware.
01:02But I think it's all your father's fault.
01:04What was he thinking?
01:06How could he entrust something so important to Ivan?
01:09He would probably go to a party or something.
01:12You'll see.
01:13He forgot and... a disaster.
01:15Yeah, I'm not surprised he's climbing the walls.
01:18Besides, if he doesn't solve this soon,
01:21he'll lose a lot of money.
01:27I think I'm going to do what my mother proposed.
01:31What?
01:33You won't like to hear it.
01:35She told me to ask your father for forgiveness.
01:38And why are you going to ask your father for forgiveness?
01:41If it was Ivan who got in the way.
01:44I'm going to ask him for forgiveness for our sake.
01:46Rodrigo.
01:47Paula, I know what you're going to tell me.
01:49No, we can't let my father treat us
01:51as if we were two degenerates or two criminals.
01:53We are two adults who have decided to be together, period.
01:56Not two degenerates, not two criminals.
01:58We have broken the rules, Paula.
02:00We have broken them because they are arbitrary and unfair rules.
02:03The point is that we have broken them knowingly.
02:06Otherwise, why do we always see each other in secret?
02:09Rodrigo, I don't want you to humiliate yourself in front of my father.
02:12You have nothing to be ashamed of.
02:14I'm not going to humiliate myself.
02:16On the contrary, I want him to see that I'm not hiding.
02:19And that he understands that what I feel for you is so strong
02:21that I have been able to go through everything to be with you.
02:39Excuse me, ma'am.
02:40Do you want breakfast?
02:41Yes, thank you.
02:42The postman brought this for you.
02:46For me?
02:47And what is this?
02:52How to hold my soul so that it does not rub against yours.
02:58Yes, it is a book that I asked for two weeks ago.
03:02At the bookshop they told me that they did not have it and that they would send it to my house.
03:06Yes, and I had forgotten.
03:08Excuse me.
03:10I'm sorry.
03:11It's okay.
03:12It's okay.
03:13It's okay.
03:14It's okay.
03:15It's okay.
03:16It's okay.
03:17It's okay.
03:18It's okay.
03:19It's okay.
03:20Excuse me.
03:33How to hold my soul so that it does not rub against yours.
03:50How to hold my soul so that it does not rub against yours.
03:56Yes, please.
03:58With the Madrid Cabaret.
04:00Yes, I'm waiting.
04:16Do I answer?
04:17No.
04:18I'm going now.
04:23Madrid Cabaret, tell me.
04:25So, Rainer María Reilke, right?
04:29Has the day arrived?
04:31It was a moment ago.
04:34And how did you know it was me who was sending it?
04:36Who else?
04:37He was going to send me a poetry book.
04:40I hope you like it.
04:42Well, for now I have loved what you have written.
04:46Although I have to warn you that I have my soul tied short so that it does not rub against anyone.
04:52And I respect it.
04:54Although I must tell you that souls are very prone to let go of reins and fly alone.
05:00That's not going to happen to me, Mr. Morel.
05:04There are lines that I can't cross.
05:08Sorry if it sounds very sharp, but I prefer to speak clearly and not waste your time.
05:14I can't think of a better way to spend my time than talking to you.
05:20Very kind of you.
05:23Sorry, I have to go. I have guests.
05:26César, see you soon.
05:31See you soon.
05:32See you soon.
05:42Excuse me, ma'am. Rodrigo is here.
05:45Can I come in?
05:46Of course.
05:51Hello, Maruja. Sorry to interrupt you.
05:53Did you know that Mr. Emiliano will be back now?
05:56No.
05:57Isn't he in his office?
05:59It seems not.
06:02Well, I can't tell you more.
06:04He went out to do some business, I think with Mr. Fermin.
06:08And after that, well, go find out.
06:10For not knowing, I don't know if he's going to come to eat.
06:14With this man everything is like this.
06:17Do you need anything else?
06:19Just to talk to him. It's nothing serious or urgent.
06:23Well, then be patient.
06:26He'll be back.
06:28I imagine.
06:32Okay.
06:38What's up, son?
06:40I wanted to talk to Emiliano about the problem with the patents.
06:44Are you sure you just want to talk to him about that?
06:47I've also come to apologize for hiding it, that Paula and I ...
06:50If you want Mr. Emiliano to forgive you,
06:52he's not going to spend you saying sorry.
06:55You're going to have to swear to him that you're not going to see his daughter again.
06:58And you just have to beg on your knees if necessary.
07:01So that he has no doubt that this matter is buried and more than buried.
07:20I swear I'll finish Emiliano Pedraza.
07:23For your memory.
07:27I swear.
07:35That's not going to happen, mother.
07:37Son.
07:39Sometimes you have to swallow your pride.
07:41It has nothing to do with pride.
07:43I will apologize to Mr. Emiliano for hiding what happened to Paula.
07:46But I will not deny what I feel for her.
07:48Never.
07:57I love you.
08:05Those bottles don't go there.
08:07What?
08:08That you are mixing whiskey with brandy and vodka with gin.
08:11The cocktails are going to taste a little weird tonight.
08:15It's true, I was wrong.
08:17After talking to someone on the phone, you know what.
08:22Were you spying on your little brother?
08:24No.
08:26But I'm not deaf.
08:29Nor am I blind.
08:31It's enough to see your face to know that you were talking to Maruja.
08:38Who was it?
08:40Leave me alone.
08:42Do you know where you're getting into?
08:45Emiliano Pedraza is a very powerful man.
08:49And powerful people are usually very vengeful.
08:54Emiliano Pedraza has nothing to take revenge with me because I haven't done anything to him.
09:00For now.
09:02Maruja doesn't want anything to do with me.
09:05For now.
09:08Let's leave it.
09:09The employees are here.
09:11You will see what you do.
09:13But I would be very careful.
09:25I'm sorry.
09:30Well, you can make me angry too.
09:32At home, your mother made me angry. Here, you make me angry.
09:34Yes, of course. Now you make the victim, right?
09:36After the ugly thing you did to my mother.
09:38In the end, I'll have to go to the competition to see if they let me have a quiet breakfast.
09:41Do you think it's polite to invite my mother for a walk and then leave her lying down?
09:46I didn't leave her lying down.
09:47Man!
09:48Don Salvador couldn't replace me and I couldn't leave the library.
09:50Very good. And why couldn't Don Salvador?
09:53He had an affair.
09:54An affair? What affair?
09:56What else?
09:57If I say what I say, you won't believe me.
09:59Of course I'm not going to believe you.
10:00Come on, I don't think Elias would show up like that either.
10:02Suddenly, by chance.
10:04You two have prepared that.
10:06Hey, don't meddle with me.
10:07Yes, I meddle with you.
10:08This is a trap to get Elias to go out with my mother.
10:11Let's see, Trini.
10:13Did your mother go out for a walk with Elias?
10:15No, right?
10:16Then where is the trap?
10:17It's a trap anyway.
10:19Because Elias probably got something.
10:22Something came up and he couldn't do it in the end.
10:24But it's a trap.
10:25Ah, you do believe that.
10:26But if your husband tells you that his boss called him because he had an urgent meeting,
10:29you don't believe that.
10:30Look, luckily you saw that you arrived too late and my mother was already lying down.
10:34Because if she sees you, she puts you back in the middle.
10:36And well deserved you would have been.
10:38Ah, are you going to yell at me too?
10:40Let's see, Miguel.
10:41Your mother-in-law may be whatever she is, but she is a lady.
10:43And you are a gentleman.
10:45And when a gentleman invites a lady to go out, that gentleman complies.
10:48Period.
10:49No matter how much of a mother-in-law she is.
10:50But I complied with a gentleman.
10:52Besides, she was the one who was delighted to go out for a walk with Elias.
10:54What fault do I have that he couldn't?
10:56I'm just saying that if it's already hard for you to get along with your mother-in-law,
10:59a mistake like that is only going to make things worse.
11:01Well, of course, she has a monumental grudge.
11:04But it's for less.
11:06It's a great humiliation to leave a lady thrown like that like a rag.
11:10Ungrateful.
11:12For what that woman has done for your wife and your son.
11:14You are bittering my breakfast between the two of you, huh?
11:16No, who has bittered my breakfast has been you to me.
11:19Because today you left at dawn.
11:21Like this, with tips, like a thief, so as not to cross you with my mother.
11:25And who has taken the rag for theft?
11:26Well me, well me.
11:27I have nothing to do with it.
11:28It's not my fault.
11:29Look, we'll talk.
11:30We'll talk.
11:34Hey, thank you very much for your support.
11:36It's nice to know that you can count on a friend when things go wrong.
11:40I'm sorry, Miguel.
11:41It was so that Trin didn't suspect.
11:43If I were on your side, he would have realized that we are spoiled.
11:47And this, yes?
11:48The truth is that you go to a circus and the dwarves grow on you.
11:52Who would have thought that Díaz was going to steal that way?
11:54When I throw it in his face, he's going to hear me.
11:56Where is he?
11:57Attending, in the dining room upstairs.
11:58No, no, no.
11:59Don't crush him too much, he's the poor tree.
12:01He says he has no courage to look Leonora in the eye.
12:04He is very little man for so many women.
12:07Well, we'll have to do something because I'm desperate.
12:09I need someone to get my mother-in-law out of the house.
12:12Or I'll answer him.
12:14Let's see.
12:15That Leonora likes Elías is clear.
12:17Because yesterday she was going with him without thinking.
12:19Elías is the one who has doubts.
12:22So we'll have to do something to raise his morale.
12:25And when I say we'll have, I mean you'll have.
12:29You follow me.
12:39Antonia, are you sure this is not a bad time?
12:41No, no, not at all.
12:42Do you want me to put you a chicory?
12:43No, don't bother.
12:44We just wanted to ask about Pietro.
12:46It's not a bother.
12:47I just prepared it.
12:48Thank you very much.
12:50Sit down.
13:03You're welcome.
13:05My uncle told me that Pietro is already in plant.
13:07Yes, thank God.
13:08Thank God.
13:09Well, and bless your uncle who recommended Dr. Quiroga to me.
13:12Well, he has the reputation of a good surgeon.
13:15He has it well deserved.
13:17He has done a job in the surgery room.
13:19That's good, Antonia.
13:20What a relief.
13:21And when is he coming home?
13:22This afternoon.
13:23I have to pick him up at the hospital.
13:25Today?
13:26But what a way to recover, right?
13:28It's almost miraculous.
13:30No, well, it's going to take him much longer to recover.
13:32Yes, but he's going to do it at home.
13:34Here, with rest, some exercises that they are going to send him
13:37and with me taking care of him, of course.
13:40But at home, after all.
13:42You'll see that he'll be back for La Moderna soon.
13:45I hear you.
13:46With how hardworking he is.
13:48And with how proud he is of his worker.
13:50Yes, yes.
13:51Well, what are you doing here?
13:53Shouldn't you be in the filming of that movie?
13:58Has something happened in the movie?
14:01No, it's just that the director has told us
14:03that we have to shoot two new scenes.
14:05Two scenes that weren't even written.
14:07Yes.
14:08Ah, I thought that movie was like in the theater,
14:11that it was written, rehearsed, and then the cameras went
14:14when everything was ready.
14:15It's usually like that.
14:17But this director has a big heart.
14:19And he has learned from Laurita
14:21and all he has to do is write the scenes.
14:24Anyway, this afternoon we have to shoot again.
14:26A scene that is not exactly easy.
14:28You don't know how much ink this newbie has been given.
14:31We're not going to bore you with movie battles.
14:34Antonia, what do you need?
14:37I don't need anything.
14:39But don't you want us to buy her something or something?
14:41Yes, or that we clean your house.
14:43Although, well, it's a mess.
14:45Stop buying and cleaning.
14:47What you have to do is concentrate
14:49because I'm sure you have a lot to study.
14:50Antonia, please.
14:51We're going to buy her something right now.
14:53So either you write down what she needs
14:55or we make it up.
14:58You didn't have to, really.
15:00Well, you didn't have to serve us machicory either.
15:03But this is done for the pleasure of doing it.
15:05I'm a gem, right?
15:07It's normal that your uncle is so proud of you.
15:14No, I don't want to go.
15:15I've already made enough of the ridiculous the other day.
15:17But what is ridiculous or what is ridiculous?
15:19That Leonora drinks the winds for you.
15:21Tell it to your Miguel.
15:22The winds, she drinks, she drinks the winds.
15:24Yes, you have drunk, and not the winds, precisely.
15:26Let's see, I have cold sweats.
15:28I just have to think about getting close to that woman
15:30and that she calls me a whore again.
15:32You don't know anything, Elias.
15:33He didn't say it about the sauces to call you a whore.
15:35Oh, no? Then why did the comment come?
15:38He said it because he was nervous.
15:40Tell it to your Miguel.
15:41Nervous, he was, he was nervous.
15:43Let's see, Elias.
15:44You've never been with a girl you like
15:47and you want to break up with her
15:49and when you open your mouth you're so nervous
15:51that you say such a big nonsense like a piano
15:53that you yourself think,
15:55but how could I say that?
15:57Sometimes like that.
15:59Well, that's what happened to Leonora.
16:00Tell it to your Miguel.
16:01The same thing happened to Leonora.
16:04She was nervous because she likes you.
16:06Tell it to your Miguel.
16:07She likes you a lot.
16:09It's clear that Leonora likes you
16:11and what about the sauces she said
16:13that she would have read in a magazine
16:15that a famous man wore saucers.
16:17And how do you know she likes me?
16:19Did she tell you?
16:23Tell it to your Miguel.
16:25Let's see.
16:26Tell it to me, tell it to me, no, no.
16:28But something, yes.
16:30Yes, she said something.
16:31But what?
16:32What did she say?
16:35Elias.
16:37Tell me.
16:38No, no, I mean, Elias.
16:40Elias, that she said Elias like that.
16:42Elias.
16:43In dreams, sleeping like a log.
16:44Elias, Elias.
16:45That she dreams with you.
16:47What have you given her?
16:49She says your name every day when she sleeps.
16:51Every day.
16:52Every day, every night?
16:53This burns, this is sad.
16:54Since when?
16:55Well, not every night.
16:56One or two times.
16:57Even three.
16:58Two or three times.
16:59Yes, but this is not a log.
17:01No, no, that is an incorrect sign
17:02that Leonora feels attracted to you.
17:04Man.
17:05What happens is that this attraction is ...
17:08How do you say it?
17:10Latent.
17:11Latent.
17:12A latent attraction that is hidden,
17:14repressed, but it's there, it's there, hidden.
17:17And she's waiting for you to bring her to light.
17:19Sure, like King Arthur
17:21to Excalibur de la Roca.
17:23That's it.
17:24You have convinced me.
17:25That same afternoon I will go to visit her and talk to her.
17:27Well, let's see what you tell her.
17:28Don't tell her that I ...
17:29Don't worry, don't worry.
17:30You don't have to tell her much.
17:32Because it's going to serve me and melt.
17:35See you later.
17:42Have we gone a little too far?
17:44We've gone too far.
17:46Let's see where this one comes from now.
17:48Well, may God catch us confessed.
17:50At least to you.
18:01Hidalgo, I know that you are the best electrician in Madrid
18:04and you have shown it enough.
18:06But today we have to be fast.
18:08So you're going to take the first operator, Jacobo,
18:10and you're going to tell him
18:11that nothing of exquisiteness is with the lights.
18:13Because today we finish the shooting
18:15with monologue or without monologue.
18:17So you know.
18:18Main filler and backlight.
18:20Yes.
18:21Yes, no light in the eyes,
18:24no details, no reflections.
18:26Are we?
18:28Perfect.
18:29See you in a while.
18:33They told me you wanted to talk to me.
18:35Yes.
18:36Is everything okay?
18:38Tell me, how?
18:39Is Laura ready?
18:41Yes, she's almost about to leave the dressing room.
18:44Perfect.
18:45Perfect.
18:46Are you going to tell me what's wrong with that scene?
18:50Well, Agustín is delicate.
18:52He brings bad memories.
18:55But...
18:56Bad memories, how?
18:58Well, it's a personal thing of his
19:00and it's not my place to talk about it.
19:02But well, you know that Laurita is not an actress.
19:05And if the text touches her closely,
19:07it's not easy for her to deal with it.
19:09Yes, I understand.
19:10But then what do I do?
19:11Do I talk to Ballesteros?
19:12No, no, no.
19:13No.
19:14It's better not to tell him anything.
19:16You know how directors are.
19:18There's no room for subtlety.
19:20That's true.
19:22But well,
19:23Laurita is determined to get the scene done.
19:26Look,
19:27it's best to leave her alone
19:29and let her manage it.
19:31Well,
19:32we'll go to San Judas Stadeo
19:35to finish the shoot today.
19:37Because I don't have money for more.
19:39In fact,
19:41I don't have money for today.
19:44I'm in red numbers, Inés.
19:47Yeah, I know.
19:48But this movie is going to work.
19:50You'll see.
19:51I hope so,
19:52because Ballesteros' whims
19:54are costing me a lot.
19:57Look, I hope you don't work with him again.
20:01Well, you know how this business is.
20:03No matter how shameless he is,
20:05if his movies keep working,
20:07he'll keep working.
20:09Anyway,
20:10I'll talk to him.
20:11And you take care of Laura's recovery.
20:13Yes?
20:14Yes.
20:15I'll try.
20:16But I won't promise you anything.
20:18And you, please,
20:19be discreet.
20:22Don't worry.
20:34And we have to renovate the wine glass.
20:36There are wine glasses that are quite scratched,
20:38and that gives a bad image.
20:39And the wine glass, Bete?
20:40We should renovate some pieces,
20:42especially the cups,
20:43but there's also a plate.
20:45Very good.
20:46Well, they'll give it to me in writing,
20:47and I'll make the order myself
20:49for the wine glass and the wine glass.
20:51It's already in writing,
20:52what I just gave you.
20:54Of course.
20:56And do you have the shifts already?
21:00Yes.
21:01Here it is.
21:03Antonia has fewer hours than usual,
21:05you know.
21:06No, I don't know.
21:08Why does she have fewer hours?
21:11Because Pietro is in the hospital.
21:16Of course.
21:20Well,
21:21as long as the place is well attended,
21:23I think it's perfect.
21:24Yes,
21:25be careful that there will be no shortage of staff at any time.
21:27And we're going to do our best
21:29whenever it's necessary.
21:32Well, if you don't want anything else,
21:35one more thing.
21:36One more thing.
21:39Where can we get a gun?
21:44A gun?
21:46The one for shooting?
21:47Yes, Cañete, yes.
21:48A gun.
21:50A gun.
21:51A revolver.
21:52I thought it would be good for us to have it around here,
21:55just in case.
21:57Just in case what?
21:59Have you forgotten the trouble we had here?
22:02Because it wasn't a joke.
22:03There have been demonstrations,
22:05but neither...
22:06I remind you that they got into the premises.
22:09We had to force them out.
22:11Given the political situation,
22:12who knows if tomorrow we won't have another Zapatista.
22:15Well, Mrs. Lazara, anything can happen,
22:17but I don't know if the solution is to get involved in shooting.
22:19Woman,
22:20no one says they're going to shoot anyone.
22:22It's true that
22:24teaching a gun at a given moment
22:26is just teaching it.
22:28It can generate an effect...
22:29Dissuasive?
22:30Yes.
22:32The guards at the gallery have a revolver for that,
22:35and I don't think they've ever used it.
22:37What's more, I don't think they've ever taken it out of its place.
22:39They have it there, in the service room.
22:41On the upper floor?
22:42Yes.
22:43I've ever gone up to the locker room
22:45and I've seen where they kept it.
22:46So don't worry,
22:47if you need a gun,
22:48the guards are already there.
22:50Well, it's good to know.
22:53Anyway, I'd like to have one here.
22:56To have the hand.
22:57But Mrs. Lazara, for that you'll need a license.
23:00A license?
23:02Well, that can take a long time.
23:04Anyway, it doesn't matter.
23:06If you can't go by the highway,
23:08you'll have to think about it.
23:10You can leave.
23:14Excuse me.
23:17Excuse me.
23:31Would you like anything else, sir?
23:33No, no, thank you.
23:36Oh, yes.
23:37You know what?
23:39Could you bring me a bottle of champagne?
23:42The good kind, right?
23:44So I celebrate that we were able to renew the patent.
23:47That's good news.
23:49Well, actually it was thanks to Fermin.
23:51We've had to go through a lot at the Ministry,
23:54but we can say that we're out of danger.
23:57That's good.
23:58I'm very happy.
24:00By the way,
24:02Rodrigo came before.
24:06And what did he want?
24:09To talk to you about Paula.
24:12Pepita, if it's about Paula, there's nothing else to talk about.
24:15It's all said.
24:16Your son and my daughter can't be involved for another minute.
24:19And if it's not clear to him...
24:21Yes, yes, it's perfectly clear to him.
24:23Don't worry about that.
24:24And me too.
24:25If you don't want anything else, sir.
24:29Smells good.
24:31Put me a plate too, Pepita.
24:33I'll bring it to you now.
24:34No.
24:35No, no, the gentleman will eat in the dining room with his mother.
24:38When she decides.
24:45I see you're still a bad genius.
24:48You haven't managed to solve the problem of the patent.
24:52You haven't managed to solve the problem of the patent, have you?
24:57I'm sorry, but...
24:58Leave it.
24:59I don't want any more justifications.
25:01I don't want any more meanders.
25:02The truth is, I haven't seen you very affected either.
25:04Even though you're to blame for this.
25:07But Mr. Cuadrado told me that you...
25:08Mr. Cuadrado didn't say anything.
25:09Yes, we already know that.
25:11But you didn't act as you should either.
25:13You took it lightly and we lost time, which was crucial.
25:15Crucial.
25:19I'm sorry.
25:20It won't happen again.
25:22You can swear on that, you know?
25:24Because I won't ask you for anything else again, given your interest.
25:29Maybe I'd be more interested if you didn't treat me like your errand boy.
25:32That I'm your heir.
25:34Don't raise your voice at me.
25:36I've had to beg Fermin to move strings to fix this mess.
25:42I've had all morning, from one side to the other, to undo the mess you caused.
25:46Yes.
25:49But then...
25:51Have you renewed the patents?
25:55That's right.
25:56We've fixed it.
25:59What a relief!
26:00Dad!
26:01Thank goodness!
26:03Thank goodness we took care of it.
26:06No?
26:07It's fine.
26:08I apologize for not taking care of it in time.
26:12I didn't know it was so important.
26:14In fact, I thought it was a cheap thing you sent me to humiliate me.
26:17Exactly.
26:18That's your problem.
26:21You simply think that working is humiliating.
26:24Well, find out.
26:25In a company, everything is important.
26:28Everything.
26:29From the foundations to the last tile on the roof.
26:31Well, the important thing is that it's fixed, right?
26:35I promise you that from now on I'll put all my effort into whatever you send me.
26:38You don't listen to me.
26:40I've told you that I won't ask you for anything again.
26:43But nothing.
26:44Never again.
26:46You're going to punish me for a mistake for the rest of my life.
26:48You never make mistakes.
26:50Of course.
26:51I made a mistake with you.
26:53Half-and-half.
26:57You know, I think I should have removed the belt a long time ago.
26:59The first time you fired me.
27:01But I let your mother convince me that she's a softie.
27:04And that's how you got out.
27:05If you gave me another chance to show you what I'm worth...
27:08But no.
27:09You've already decided that I'm a lost cause.
27:11No, I haven't decided it.
27:13You've shown it yourself.
27:16Look.
27:18Ivan.
27:19You're my son.
27:21You'll never lack anything.
27:24And I think that with my inheritance you'll be able to live with ease.
27:26As long as you don't spend it all on gambling.
27:28Now, that's for sure.
27:30Work with me.
27:32In my company.
27:34Forget it.
27:36I don't even want you as a janitor.
27:40And now, if you don't mind, let me eat in peace.
27:43Go fuck yourself.
27:57Are you going to be able to give the scene, yes or no?
27:59I don't know, Aguisteros.
28:01I was just telling you that the text...
28:03It moves you a lot and it's hard for you.
28:05Well, if you have to change something, you change it.
28:07But even if I tell you...
28:08No, Laura hasn't told me anything.
28:09Laura wants to shoot.
28:10Then why have you come?
28:11Agustin, to scare me, right?
28:13To warn you that the actress feels bad.
28:15So that you treat her with delicacy, damn it.
28:17And that I treat the actresses with care.
28:19Yes, of course.
28:20I don't say anything to you.
28:21Well, almost better.
28:22I can handle my actresses perfectly.
28:24I don't need the producer to come and give me advice.
28:26I've seen how you handled the actress who was about to cry on the set.
28:29Oh, by the way.
28:30And the scene that is costing us so much...
28:32You wrote it.
28:33And if we're shooting this movie, it's thanks to the producer.
28:35So don't bother me.
28:36Shut up.
28:38Is something wrong?
28:39The producer...
28:40I just told him that the monologue scene...
28:43We're going to shoot it...
28:44In one shot.
28:46I've been tricked.
28:48What do you mean, in one shot?
28:50And if the monologue doesn't come out of nowhere, how are you going to edit it?
28:52Emotion, Agustin, emotion.
28:54Forget about the editing.
28:55What fills the movie theaters is emotion.
28:57A shot in the middle of a monologue is full of emotion.
29:00Your sister, is she going to shoot or not?
29:02Yes, she is.
29:03She'll be here soon.
29:06How much animation and how many cuts?
29:09For this, they needed four trucks full of iron, lights and everything.
29:13So that later there are two actors saying four things.
29:16But what about the beauty of what's left on the screen?
29:20Especially the love movies.
29:22Well, and the charlotte ones.
29:27The charlotte ones.
29:37You're...
29:38You're stunning.
29:40Beautiful.
29:41The set lights up when you come in.
29:43You should turn off the lights.
29:46How are you?
29:48Good.
29:49Don't lie to me.
29:50I've been told that the scene bothers you.
29:53No, no, don't worry.
29:55It'll be fine.
29:56You want to be an actress, don't you?
29:58Well, things are like that, dear.
30:00Sitting in a dressing room to make you look great.
30:03Anyone can do that.
30:05This is where you earn your salary.
30:07Defending the scenes that don't convince you.
30:10Usually, they pay you the same as the others.
30:13So cut to the chase.
30:18Claudita.
30:20Look at me.
30:21You take me inside.
30:22You let him go and let me take you.
30:24I love you.
30:25Quiet, everyone.
30:32Action.
30:41And action.
30:54And action.
31:01Inés.
31:04It looks like your sister has attacked.
31:06If you want, shut up.
31:09We're shooting a silly film.
31:11Cut, cut.
31:12Cut, cut.
31:13No, no, no, don't cut.
31:15Go on.
31:25This wasn't my idea, you know?
31:27It was my boyfriend who convinced me.
31:30He says that if I don't get rid of this baby,
31:35if I don't get rid of it,
31:37that's what he says,
31:38get rid of this.
31:40Then he'll have no choice but to leave me.
31:45According to him, it's his family's business.
31:49His mother would die of disgust
31:51and it seems that her disgust is more important
31:54than what they can do to me.
31:57He's not even willing to go with me.
32:00It's going to hurt me.
32:02I think she's talking about abortion.
32:04Is that the doctor?
32:05Esperanza, please.
32:07No.
32:08I don't think it hurts me more than it hurts my heart.
32:13And that pain,
32:15no one can take it away from me.
32:16That pain, no one can take it away from me.
32:19Those looks of contempt,
32:22no doctor can take that away from me.
32:25That's not in the script.
32:27No, he's doing it on his own.
32:30Cut.
32:32Cut. No, no, no.
32:33Leave it.
32:37Why do I have to get rid of something that's part of me
32:40to continue with a man who is capable of doing this to me?
32:44He doesn't care that the child is his.
32:48Go away.
32:50I don't need you.
32:51The love of this child that I have inside
32:53is much more important than the love of that man.
32:58I'm going to have the child alone
33:00and I'm going to give him all the love I have,
33:03just for him.
33:04Just for him.
33:14Cut.
33:18A round of applause for Laura Valbuena.
33:31Attention, attention.
33:33We have finished the film.
34:03We have finished the film.
34:31What is this?
34:32This is...
34:33Let's call it a counteroffer.
34:40This is still a lot of money,
34:42but what do you think?
34:43No, what do you think, Lazara?
34:45That we're not in the fish store?
34:48The negotiations are over.
34:50Either you pay me or you face the consequences.
34:53Of course I'm going to pay you, Juana.
34:55But you know what you're asking me for.
34:57Fermin is not a millionaire, for God's sake.
34:59Well, I'm so sorry.
35:02But don't say I didn't give you the chance.
35:08Wait!
35:14There's a safe.
35:17But you have to give me some time.
35:19It's outside Madrid.
35:22Outside Madrid? Where?
35:24I can't tell you.
35:27But if you give me a few days,
35:30I think there will be enough money.
35:32But where is it?
35:34I've already told you.
35:35In a safe.
35:36But where is that safe?
35:38In a family farm, in the Alcarria.
35:42Well, Alcarria leaves and comes back during the day.
35:45So I want to see it.
35:47Well, Alcarria leaves and comes back during the day.
35:50So I want my money tomorrow.
35:52I've run out of patience.
35:54But you want me to go alone
35:56and come back loaded with a fortune under my arm?
35:59A woman alone on those roads
36:01draws a lot of attention.
36:03Not to mention that anything can happen to me.
36:07Well, we'll go together.
36:09For God's sake.
36:11I can't go tomorrow. What do I tell my husband?
36:14Lazaro.
36:16Something will come to your mind.
36:18Anything.
36:19Anything better than telling him
36:21that you're a murderer.
36:27Okay, we'll go together.
36:31You're not fooling me, are you?
36:37Are you sure you can open that safe?
36:41Fermin keeps the combination in a notebook.
36:44He doesn't know I've read it.
36:46Come on.
36:48I'm sure you've already thought of an excursion to Alcarria
36:51to catch a fish.
36:54If that's where Hugo is,
36:56he's always there.
36:59Tomorrow.
37:01At six o'clock in the afternoon at the Puerta de la Moderna.
37:03Be discreet, please.
37:05At seven, the train leaves at the noon station.
37:14At seven, the train leaves at the noon station.
37:27You're going to use the cups again.
37:30What's the matter? Don't you like them?
37:32I don't like you using the cups every day.
37:34Better the glasses.
37:36Because when you have a special occasion,
37:38the cups will be shabby, shabby.
37:40But I don't know why I'm telling you this.
37:42With you, it's like preaching in the desert.
37:47What's the matter now?
37:48The cups. Your mother doesn't want to use them.
37:59Don't sit with your back to the door.
38:03I'm coming.
38:05I'm coming.
38:11Good afternoon. Is your mother-in-law here?
38:13Elias!
38:18What are you doing here?
38:19I came to talk to your mother-in-law.
38:21If you don't mind.
38:22Look, we were just about to sit down for a snack.
38:24What's the matter, Elias? Don't stay at the door.
38:27Dear Leonora, I have taken the liberty of bringing some flowers.
38:33How beautiful. They smell so good.
38:35Well, I'm going to put them in water.
38:37Do you want to sit down? Do you want to have a snack with us?
38:40Well, I... Yes, yes. Why not?
38:43What are you doing?
38:45Declaring myself.
38:47Yes.
38:48Leonora, great occasions require simple words.
38:53Yes, even the most florid of rhetorics
38:56pales before the beauty of pure feeling of love.
39:00Let's see, Elias, calm down.
39:02And since that love is reciprocal,
39:05well, we don't need to keep hiding it.
39:08I love you.
39:10You love me. We love each other.
39:12Well, let's just say that love flies free like a bird.
39:16No, no, let's see, let's see, let's see.
39:18Stop the car, stop the car, Elias.
39:20That I love you, where did you get it from?
39:24Well, who says love, love,
39:26it has to have some emotion, some feeling,
39:29I don't know, some attraction.
39:31That I'm not indifferent to it.
39:35Leonora, Miguel told me everything.
39:37What did Miguel tell you?
39:39Well, Elias, tell me, tell me.
39:41That you name me in dreams.
39:44Yes.
39:46So, nothing, just tell you that I'm here.
39:49I'm here and I'll be here
39:51every time your lips, your tender lips,
39:54pronounce my name in love.
39:56I love you, Leonora.
39:57But what a shame, for God's sake.
39:59Two men, done and right,
40:01here like two schoolgirls, for the love of...
40:03Look, look, Elias, go home.
40:05Go home and tomorrow we'll pretend
40:07that this didn't happen, okay?
40:09We're going to forget, and you're going to hear me.
40:11No, you're going to hear all three of me.
40:13Come on, let's heat the chocolate, it's time.
40:15You sit down, we're going to have a snack.
40:17And you, brilliant.
40:20What an observer you are, aren't you?
40:22I thought you didn't notice me, but look,
40:24he catches them on the fly. Sit down.
40:29Well, call me Leo, if you want.
40:33Leo.
40:35How handsome you look, don't you?
40:37Oh, you look like a colonel.
40:42The cups.
40:53Okay, thank you very much.
40:55It's a deal.
40:58Next week we're going to give the bell.
41:00I just closed a first-rate performance.
41:03Now, you have to be very careful
41:05and not get lost, because any
41:07small mistake can ruin everything.
41:09Don't say that about me.
41:11I'm the one who's a little lost with their affairs.
41:13I prefer not to talk about those matters, sister.
41:15Is this for the four of us?
41:17Yes.
41:18I'll take them, they're friends.
41:19Very well.
41:20Aren't you going to ask me what performance
41:22we have next week at Madrid Cabaret?
41:24Oh, well.
41:25Those are the issues you want to talk to me about.
41:27Come on, tell me.
41:33It's a joke.
41:35Absolutely not.
41:36I have it worded.
41:37I can't believe it.
41:38How did you get that?
41:48Good afternoon.
41:50Blessed are the eyes.
41:52How are you?
41:54Would you like something to drink?
41:56Something strong, anything.
42:02You're not having a good day.
42:04It's not a good year.
42:06And not a good life.
42:08At least, if you ask my father,
42:10I'd tell you that maybe I wasn't born.
42:12Or that you threw me off the viaduct.
42:14Don't be ridiculous, man.
42:16It's practically what he told me.
42:18That I'm worthless.
42:20That he can't trust me
42:22for any task of minimal responsibility.
42:24And that he's not going to let me work
42:26in anything that has to do with the family business.
42:28When a father says that,
42:30what he's actually saying is
42:32that you make an effort.
42:34That you put all the meat on the grill.
42:36If he really thought that you weren't worth it,
42:38he'd give you an insignificant position
42:40so that he wouldn't bother you
42:42and so that you wouldn't argue.
42:44No, my father isn't like that.
42:46He's a saint.
42:48And I'm not worthy of stepping into his office.
42:50Well,
42:52enjoy it.
42:54If you don't want to go,
42:56I'm sure you can start your own business.
42:58I'm sure you have plenty of ideas.
43:00I have ideas.
43:02But I'd rather not even try.
43:04Why? So that he can come and tell me
43:06everything I do wrong?
43:08Or so that he can show me
43:10that I can't reach the sole of his shoe?
43:12Or even worse, so that he can put the lock on me
43:14so that I can't open the door.
43:20I'll have another one.
43:24And when did my mother say she'd be back?
43:26She didn't say.
43:28Go and find out. Maybe she won't come back.
43:30Maybe she spent the night with Elías.
43:32Honey, please, my mother is a decent person.
43:34Yeah, but Elías is a seducer.
43:36Or so he thinks.
43:38No, no, you've done more harm than good, Esperanza, please.
43:40Well, and you shut up, please.
43:42This is also your thing.
43:44Tini, maybe with this,
43:46I don't know, you'll all win.
43:48Well, I'm going to see if Pietro and Antonia are coming.
43:50They should be here.
43:52The thing is, since I don't have a watch,
43:54I can't look at the time.
43:56Oh, really.
43:58Wait.
44:02Hey.
44:04I'm a little worried.
44:06Don't worry, woman.
44:08If they're late, it's because they didn't find the taxi.
44:10No, no, no, I don't mean this.
44:12I mean what happened before.
44:14What Mrs. Lázara told us about how she could get...
44:18It was very strange.
44:20Very strange.
44:22Because if she wants a gun, she could tell Don Fermín
44:24and he could do the necessary management.
44:26But I have the feeling that she wanted to get it on my behalf.
44:28Or I misinterpreted it.
44:30No, no, no.
44:32Just as you said.
44:34Not with those words, but come on.
44:36She didn't want a license for anything.
44:38There he comes.
44:40Let's see.
44:50Welcome, Pietro.
44:52Welcome.
44:58Thank you all.
45:02I really wanted to go home.
45:04Thank you all, comrades.
45:06It's very nice to see you all here.
45:10Pietro really wanted to go home
45:12and also to recover completely.
45:14Yes.
45:16He's going to take his time, but little by little.
45:18Well, now it's time to rest.
45:20Maybe both Guirigay and I weren't a great idea.
45:24No, no, we're very grateful, really.
45:26Yes.
45:28And well, you know,
45:30that anything you need,
45:32here we are.
45:34Give them a shout and...
45:36Thank you, Trini.
45:38And now, well, to keep recovering little by little.
45:40Don Fermín had some important matters to attend to
45:42and he couldn't come,
45:44but he told me to remind him of his part.
45:46Cheer up, teacher, the worst is over.
45:48Now, patience and good food.
45:50Do you want me to help you up the stairs?
45:52No, no, thank you very much, Esperanza.
45:54Javier is already helping me.
45:56Shall we go, my love?
45:58Yes.
46:00Shall we go, my love?
46:02Yes.
46:04One moment.
46:06One moment.
46:22You're welcome.
46:50She's so weak.
46:52Weak, but not deaf, Esperanza.
46:54Neither is Antonia.
46:56I don't know, I think she's fine
46:58I don't know.
47:00You're making a fool of yourself.
47:02My love, please.
47:04My love.
47:16Excuse me.
47:18Come in, come in.
47:20Your mother told me you wanted to talk to me.
47:24Sit down.
47:28Sit down.
47:34You tell me.
47:38I wanted to apologize to you.
47:42Go on.
47:46I wanted to apologize to you
47:48because the last thing I wanted in this life
47:50was to cause you unhappiness.
47:54I owe you a lot, sir.
47:56I owe you my education and my professional career.
48:00And I'm sorry I kept it from you that Paula and I...
48:02You didn't only upset me.
48:04You also upset my wife.
48:06And your mother.
48:08Yes, sir.
48:10I've already apologized to my mother
48:12and I'll apologize to Maruja as soon as I have the chance.
48:16Good.
48:20Apologies accepted.
48:22You're a wise man.
48:24Thank you, sir.
48:26You know...
48:30Paula is a beautiful woman.
48:32You grew up together.
48:34You grew to trust each other.
48:36It's understandable that
48:38the affection you had for each other
48:40as brothers
48:42ended up being confused with something else.
48:44It's a matter of youth.
48:46I've also been young.
48:48I know how it feels.
48:50But well...
48:52The important thing now
48:54is that it's all over.
48:56Right?
48:58Let's call Paula.
49:02I want you to say it in front of her.
49:04Excuse me?
49:06I want you to say it in front of her.
49:08That you regret it.
49:10Because you regret it, right?
49:12Yes, a lot.
49:14But what I regret the most is hiding it.
49:16That's enough.
49:18I've said that I accept your apologies.
49:20I just want to prove that you're honest.
49:22That's why I want you to say
49:24in front of Paula
49:26that you regret getting involved with her.
49:28And that it's all over.
49:30Once and for all.
49:32Paula, please.
49:34Paula, you can come.
49:40What's going on?
49:42Come in, honey.
49:44Sit down, please.
49:49Rodrigo wants to tell us something.
49:53Right, Rodrigo?
49:59Go ahead.
50:04Explain the situation to my daughter.
50:14We know what you're capable of.
50:16That's why I'm the one who expects you to rectify.
50:18Never.
50:20Then you'll have a problem.
50:22I told you to apologize.
50:24I told you to swallow your pride.
50:26And I did, but in my own way.
50:28And I assure you that it didn't go so badly.
50:30It's just that you're upset.
50:32It's just that you don't reason.
50:34Today we will go to the mayor's office and give the payment,
50:36but I don't like that you pressure me like that.
50:38And what did Dr. Quiroga tell you
50:40when he sent us the final report?
50:42Well, at the beginning of this week.
50:44I'm going to have to make a little trip
50:46to see my aunt Visitation.
50:48I didn't know the existence of an aunt Visitation.
50:50My aunt has little time left in her life.
50:52And she sent me to call.
50:54Okay, I'll go with you.
50:58There's no need.
51:00Family is the most important thing, Lázaro.
51:02I insist, I'll go with you.
51:04You're a useless guy who almost ruins us.
51:06You take it as a joke.
51:08I just wanted to...
51:10You alone, you alone.
51:12I don't know about Ivan, he's worthless.
51:14Any problem?
51:16I don't know if you can call a problem something that has no solution.
51:18Do you know what is
51:20Ivan's real problem?
51:22That he went out with his mother.
51:24What a shame.
51:26Well, yes.
51:28As I was saying,
51:30it was a great success for me
51:32to give more prominence to Laurita.
51:34Yes, yes, my sister is worth a lot.
51:36Laurita has a deep look
51:38that makes the camera fall in love.
51:40How many times have I seen so much truth in an actress?
51:42Yes, it's something I've never seen, of course.
51:44That feeling, that tear.
51:46I have to go.
51:48I think I've felt something wrong.
51:50You try to teach me how to face something
51:52that you haven't faced in your life.
51:54You, who allow dad to treat you the way he treats you.
51:56That he's not much better than me.
52:00At least I enjoy my life
52:02in my own way.
52:04Can you say the same?
52:06I was thinking
52:08that I should tell Luchia
52:10and tell Giancarlo, right?
52:12No.
52:14Why not?
52:16I would love for my father to accept what is ours.
52:18And I would love for my mother to accept it.
52:20Tomorrow, when the moods are calmer,
52:22we'll go and talk to them.
52:24I don't know how I dared to come here.
52:26I do know.
52:28And I think you do too.
52:30And curiously,
52:32you came just tonight,
52:34when we can be alone for a couple of hours
52:36without anyone bothering us.
52:40I don't think it's a coincidence.
52:42I must have gone crazy.
52:44Well, in that case, holy madness.