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00:00A few days later...
00:10Yes? Are you comfortable, honey?
00:13Yes, I'm great.
00:16Please stop bothering yourself so much, Antonio.
00:19I'm not bothering you at all.
00:20In any case, you're the one who needs it.
00:24I can't get out of the decision you've made for me.
00:27You deserve it, honey.
00:30Well, I'm going to start taking things out of the way
00:33so they don't bother you when you walk.
00:36But don't worry, Antonio.
00:38You're going to end up like this.
00:40Oh, yes.
00:42Let's see.
00:45Where are you going? Where are you going?
00:47No, no, no, no, no. Don't move.
00:49Of course not.
00:50I'm going to get a glass of water.
00:52Well, I'll get it for you. I'm here, right?
00:55Yes, please. And...
00:57Can I take a book?
00:59I'll get it for you.
01:04But honestly, I don't think you have your head right now
01:06because you're making a lot of effort.
01:08Do you want me to read it to you?
01:10Antonio, what can I do, then?
01:12Well, to be calm, honey.
01:14What they've done to you is not a small thing.
01:16Come on, I'll leave you the book, okay?
01:18Well, I'm going to prepare the things for the cure
01:21and to settle the house a little bit.
01:22I'm sure you'll start getting visitors.
01:24Yes, and you never stop.
01:28Well, it's better to have the house in a state of emergency.
01:33And what did Dr. Quiroga tell you
01:36when he sent us the final report?
01:38Well, at the beginning of this week.
01:40Oh, well.
01:43Quiet.
01:45Is everything going to be fine?
01:46Yes, yes. I have no doubt.
01:54Come on.
01:59Pietro, please, again.
02:03I have to practice, Antonio.
02:06Please, sit down.
02:07What you have to have is patience.
02:09Didn't the doctor tell you that it's normal
02:11that at first you can't walk well,
02:12but that in a little while you'll do it wonderfully?
02:14Okay, two steps, just two.
02:18Enough to get pregnant.
02:23Come here.
02:52Did something happen to you yesterday with Paula?
02:55Why do you ask?
02:57Because she left very early today,
02:58as if she didn't want to see you.
03:02No, nothing happened to Paula.
03:04Or well, yes.
03:07But in reality, the one who happened to me
03:09is Rodrigo.
03:10And can I know why?
03:13Because he doesn't respect my will, Maruja.
03:16When it comes to him, I don't like him at all.
03:20Because maybe I could expect it from Paula,
03:23but not from Rodrigo.
03:26He's been working with me for many years,
03:28being my right-hand man.
03:30I thought I knew him better.
03:32You mean that...
03:33I mean what I've been saying a thousand times.
03:36That your children are difficult
03:38and disrespectful.
03:40And it's because of your permissiveness
03:42with them since they were born.
03:45Emiliano, I'm tired of that damn canteen.
03:49You seem to forget
03:51that Paula and Rodrigo are no longer two children.
03:54And that the education of children is a matter of two,
03:56especially from a certain age.
03:59Of course, if you hadn't been so busy
04:01with your skirt mess,
04:02maybe things would have been different.
04:04Look, look what I'm telling you.
04:10I didn't expect to see you like this, Dad.
04:12I imagined you jumping with joy.
04:17Jumping with joy?
04:19For what?
04:21The renewal of the patents.
04:23You cared more than your own life.
04:25I guess you've already thanked your friend Fermin.
04:29You have the guts to come with a knife.
04:33You're a useless guy who almost ruins us.
04:36But you don't.
04:37You take it as a joke.
04:40I just wanted to...
04:41You alone, you alone.
04:43You're just a useless guy, Ivan.
04:46You're worthless.
04:48And you have the shame to ask me
04:50to give you more responsibilities in the company.
04:52Listen to what I'm telling you.
04:54Never again.
04:55Do you hear me?
04:56Never again.
04:58Go away, go away, go away.
05:00Oh, poor Ivan.
05:01I'm so sorry.
05:03You're not even able to listen
05:05when the truth is told to you.
05:07Listen to what I'm telling you.
05:08It's the last time you cheat on me.
05:11The last time.
05:12Now go away, go away.
05:14Go to hell.
05:15That's what you're good for.
05:17You can't treat your son like that.
05:19You can't kill him like that.
05:22You'll only lose him.
05:24Lose him?
05:25He's already lost.
05:26But you're going to defend him, right?
05:28Aren't you?
05:29What's wrong with you?
05:30What's wrong with you, Maruja?
05:31Does your conscience bother you?
05:33That's it, right?
05:34Because you know perfectly well
05:36that the only person to blame for Ivan's death
05:38is you.
05:40Me.
05:44Do you know what the real problem is with Ivan?
05:49That he has lost his mother.
05:51What a shame.
06:00Well, yes.
06:11I've told you a thousand times
06:13not to call me Moderna, Juana.
06:15I could fire Fermin.
06:17So what?
06:19I'll tell you again.
06:21Today we'll go to the mayor's office
06:23and I'll pay you.
06:24But I don't like you pressuring me like that.
06:27Yes.
06:29Yes, of course.
06:30Everything is in order.
06:32Thank you very much for calling.
06:34Of course.
06:35See you later.
06:36Is there a problem?
06:37No, not at all.
06:39A payment that we were waiting for, but nothing serious.
06:42Great.
06:44Well, I come from Emiliano's office.
06:48And that?
06:50Emiliano has always been a very grateful guy
06:52and he wanted to show me his gratitude
06:54for helping him with the thorny matter
06:57of the patent renovations.
07:01This gold.
07:04What a detail.
07:05Excessive, I would say.
07:07But I haven't done any repair
07:09because, apart from being a gem,
07:11I've had to swallow my principles
07:13to be able to help him.
07:15You'd do anything for him.
07:17Yes, yes.
07:19The truth is that there are people
07:21with whom, for whatever reason,
07:23you create a bond that lasts
07:25no matter how much time passes.
07:29Speaking of bonds,
07:32I'm going to have to make a little trip
07:34to visit my aunt.
07:36Visit?
07:37I didn't know the existence
07:39of an aunt visiting.
07:41When you told me at the wedding
07:43that you didn't have anyone you wanted to invite.
07:45Well, it's just that we haven't spoken in many years.
07:47We had a meeting,
07:49but now she's very sick.
07:50They just told me.
07:52I thought you were
07:54talking to a supplier.
07:56Yes, yes.
07:57This was before.
07:59Look, Fermín,
08:01my aunt has little time left in life
08:03and she has sent me to call.
08:04I would like to be able to say goodbye to her
08:06and see her for the last time.
08:09Okay, I'll go with you.
08:12You don't have to.
08:14My God, you don't have to.
08:16My aunt lives in Muro de Bellos,
08:18in the Pyrenees,
08:19and she has a very complicated access.
08:21It will also be for you.
08:23Yes, but I don't want you to leave
08:25your obligations in La Moderna.
08:27Besides, between some things and others,
08:29it will take days.
08:30Family is the most important thing, Lázaro.
08:32I insist, I'll go with you.
08:37Well, in this case,
08:39I'd rather not go.
08:41Don't look at me like that.
08:43If anything happened in La Moderna,
08:45I would feel very guilty.
08:47Besides, we just got back from the honeymoon.
08:50No, I'm staying.
08:53Okay, as you wish.
08:55Go alone.
08:58When are you leaving?
09:00This afternoon.
09:01As soon as I finish organizing everything
09:03so that Teresa and Cañete can replace me.
09:05And make the luggage, of course.
09:08Well, if you'll excuse me,
09:10I have a lot of things to do.
09:21I'm going up the walls.
09:23I didn't sleep last night.
09:25Leon, don't shut up.
09:27Leon doesn't shut up, it's true.
09:29I can't stop thinking about the meeting
09:31between Elías and my mother yesterday.
09:33And all this because of you.
09:35Because of us?
09:37Yes, I don't know how you did it.
09:39But I'm sure that you two are behind all this.
09:42That laugh of Elías and my mother,
09:45stuck in my brain all the time.
09:48My God.
09:49Then, to finish it,
09:51they went for a walk.
09:53A walk of hours.
09:54Because when we went to see Pietro,
09:56when we got home,
09:57they were still out.
09:58Come on.
09:59It's not like I'm taking your sleep away.
10:01Of course I'm taking my sleep away.
10:03Of course I am.
10:04Because now,
10:06they have an appointment to go to the retreat.
10:08Come on, they are going out.
10:10I just hope that they spend a lot of time
10:13until they have that appointment.
10:14So that I have time to think about something,
10:16to think about Rosano.
10:18With all this.
10:19And if I don't make it,
10:20you two will find out.
10:22Don't tell me.
10:23If there has been any unworthy management,
10:25I have only been a mere spectator.
10:28Are you okay?
10:29Yes, yes, sorry.
10:30Go on, go on.
10:31The words of Cañete have impressed me.
10:34I think Troutrini would hurry me.
10:36Because, as far as I know,
10:37Elías has planned to visit Leonora this afternoon.
10:40This afternoon?
10:41But if this afternoon is very soon,
10:43I don't have time.
10:44I have to go,
10:45I have to go to the lunchroom,
10:46to go back in,
10:47to go back in something.
10:50Very nice of you, man.
10:51What do you want me to do?
10:52Well, don't drain the bulk
10:54of your responsibility.
10:56I did it for your own good, Miguel.
10:58Haven't you seen the advantages Trini has
10:59when she thinks I'm neutral?
11:01Well, no, I haven't seen them.
11:02Well, she's pretty blind.
11:04I become the voice of prudence.
11:06I set distances,
11:08so Trini won't realize
11:09that we're in a relationship.
11:11She'll even trust me.
11:13I don't know, I don't know.
11:14Yes, Miguel, yes.
11:15Or in the end it won't be worth it
11:17if we manage to get Elías and Leonora intimate
11:19and Trini sends her mother back to Fuencarral
11:21so they don't get back together.
11:22In that case, anything would have been worth it.
11:25You said it, Miguel.
11:27All this to get rid of Leonora.
11:29Repeat after me.
11:30All this to get rid of Leonora.
11:33Do it yourself.
11:34All this to get rid of Leonora.
11:36That's it, very good.
11:37This is going in the right direction, Miguel.
11:39All this to get rid of Leonora.
11:41All this to get rid of Leonora, of course.
11:43All this to get rid of Leonora.
11:45All this to get rid of Leonora.
11:47That's it.
11:51Thank you very much. I hope to see you again soon.
11:59Have a good day.
12:09Good morning.
12:11Good morning, Mrs. Teresa. What brings you here?
12:13Well, I was curious. I wanted to see the news.
12:18They are all at your disposal. I must tell you that I am glad to see you so often.
12:23Well, from now on I will have to space out my visits more.
12:27And does that occur to you?
12:29No, but I'm going to have to take care of Mrs. Lázara's work and it's going to take me longer.
12:36Is something wrong with Mrs. Lázara?
12:38No, not her. Her aunt.
12:41She says she has to go see her.
12:44And is there something wrong with that?
12:48No, but...
12:50Look, it's just that once we asked her for another matter and we didn't give her any family.
12:56Yeah, well, I can't help her much, Mrs. Teresa. I know very little about Mrs. Lázara.
13:03Is there a problem?
13:06I don't know if you can call a problem something that has no solution.
13:11No, woman, no. Everything has a solution. Well, except for death, of course.
13:15No, I'm afraid not everything. My father has no solution.
13:21He still doesn't accept my relationship with Rodrigo.
13:24Yes.
13:26Yesterday they had a fight. And even though he was a good man,
13:30I don't know how he would have been encouraged.
13:35And are you waiting for him to come to ask you?
13:38For him to come, yes. But he doesn't come. And that scares me.
13:43I don't know if my father had something to do with it.
13:46Do you think he would have forbidden you to come to the gallery?
13:49That or that he has had problems with him again. I don't know.
13:55My father is capable of anything.
13:57My father is capable of anything.
14:13I can't say anything else. That's what there is, mother.
14:17I don't like what I hear, Rodrigo. I don't like anything. You haven't listened to me.
14:22I told you to apologize, to swallow your pride.
14:24And I did, but in my own way. And I assure you that it didn't go so bad.
14:29Oh, no?
14:31No. Because I have been able to reaffirm my feelings for Paula and I have done it publicly.
14:35Son, you are playing with fire.
14:38Don't you realize that you wouldn't have gotten where you have gotten without Mr. Emiliano?
14:42And why do I want to be where I have gotten if for that I have to give up Paula?
14:45You are obsessed. You don't reason.
14:48What you are doing will have consequences.
14:50I know, mother. You don't need to remind me.
14:55Well, I, no matter how much Pietro is in his house,
14:58I'm not going to remove the stamps from here until he's completely healthy.
15:02Because you never know.
15:05Girl!
15:07No, no, no. Retiro, no, please. Not with Elias.
15:10What are you doing? What's wrong with you?
15:12Oh, I had other places. Esperanza, I'm sorry.
15:15No, no. I've already realized.
15:16No, no. I've already realized.
15:18And what were you saying about Retiro? You were mentioning Elias.
15:21No, I was thinking about what will happen in La Moderna when Elias retires.
15:26I see.
15:28But hey, what are those voices for?
15:30Hey, you know that sometimes I'm a bit of a crybaby.
15:34Oh, really.
15:36Well, I was thinking about how things are, huh?
15:41How much I miss Antonia and how little I miss Mrs. Lázara.
15:46Mrs. Lázara hasn't left yet.
15:48Oh, Antonia. I hope she comes back soon. That would be a good sign.
15:51But she has to be with her husband now.
15:54And where is Mrs. Lázara going?
15:56She's going to the Pyrenees.
15:58To see a second, or third, or fourth aunt.
16:02To the Pyrenees?
16:04Could it be Transylvania, like the good vampire she is?
16:06There with her relatives?
16:08And that way we'll lose sight of her longer,
16:11because Transylvania is further away than the Pyrenees.
16:13Esperanza, one day she'll forget that she's Don Fermín's wife.
16:16No, woman, I don't forget.
16:18And you don't either.
16:20Because, of course, with that watch on,
16:23all the time remembering it.
16:25What's wrong with my watch?
16:27That you let yourself be bought by the manager.
16:30And I never expected that from you.
16:33I'm sorry, but I haven't let myself be bought by anyone.
16:36I don't know if you know that rejecting a gift is very ugly.
16:39And I don't allow you to talk to me like that.
16:42Sorry.
16:44But look, let's drop the subject.
16:46What do you know about Pietro and Antonio?
16:49That they don't have a watch either?
16:51Esperanza, don't tell me you're going to end up in a contract.
16:54Well, very little is known,
16:56because the truth is that they don't leave the house much.
16:58And it's true that Pietro, well, he's having a hard time walking.
17:02But he has taken to the letter not to hurry.
17:05The truth is that I was very impressed when I saw him.
17:09I saw him very regular.
17:11Well, but Antonio told us that the doctor had told him
17:14that it was normal after such an operation.
17:16Whatever you say.
17:18But come on, I'm not going to stop praying until I'm completely cured.
17:22I think I have the enemy at home.
17:25You mean Herminia, because ...
17:27Yeah, yeah, yeah, yeah, I'll tell you, Esperanza.
17:29But hey, if you have any complaints,
17:31tell me directly and that's it.
17:33And you, pray whatever you want,
17:35no one hurts you.
17:37Ah, one more thing.
17:39I don't want them to tell Antonia how much we miss her,
17:42because I don't want to pressure her.
17:43For now, a lot of spirits and a lot of collaboration.
17:47Promise me.
17:49Of course.
17:55I have not forgotten that I continue to work for Don Emiliano
17:58and I confess that I am worried to meet him again,
18:00but I am prepared for everything.
18:03To fire you even?
18:05Even for that.
18:07And to fire me?
18:09You hadn't thought about that, right?
18:11I'm your mother.
18:13Leaving me on the street will be a good punishment for both of us,
18:16because I haven't managed to convince you to forget Paula.
18:19I don't think it gets to that extreme.
18:21Don Emiliano has a lot of consideration for you
18:24as a servant and as in charge of the service,
18:27and Mother Witch would have something to say about it.
18:30Mother,
18:32no matter how hard you try, Don Emiliano,
18:34the whole world,
18:36I will not regret loving Paula and being honest.
18:39I'm already realizing it.
18:41I want you to know the truth too,
18:43because you have never hidden anything from me.
18:45Don't try to justify yourself, Rodrigo.
18:47I understand that you are angry.
18:49It doesn't seem so.
18:51You don't know what you've done.
18:53You don't know who you're facing.
18:55I think I know.
18:57People like Don Emiliano have many weapons.
18:59You think you know them, but you don't know half of them.
19:01You don't know how it is.
19:03I know better than you think.
19:08Really?
19:11So?
19:14What do we do now, Rodrigo?
19:17What do we do?
19:31The look on your face
19:34when Ballesteros said cut,
19:36you froze.
19:38It wasn't the only one.
19:39Everyone was speechless.
19:41What Laurita did was great.
19:43You're exaggerating,
19:45but I love it.
19:47I'm glad you decided to come.
19:49I didn't feel like it.
19:51I was tired and I had to skip a singing class.
19:54It was hard for you to decide.
19:57I'm sorry.
19:59I don't want to offend you.
20:01It's what your sister said.
20:04It was hard for you to decide,
20:06to make a decision.
20:07It was a long night.
20:09By the way, how's the editing going?
20:11Well,
20:13it's very advanced,
20:15so we may have a premiere soon.
20:17Is it true what they say
20:19that you have Ballesteros tied up
20:21to direct your next film?
20:23Ballesteros is a vain and unbearable guy,
20:26but he's the fashion director.
20:28In fact, they say that in a short time
20:30it's possible that he'll jump to Hollywood,
20:32so we have to take advantage of it.
20:34In any case,
20:35I don't take him to a party.
20:37You have to be brave
20:39to work with him again, of course.
20:41Let's say that Ballesteros' presence
20:43attracts the financing.
20:45I couldn't face it alone
20:47after the failure of The Shadow of Love
20:49and the costs of The Clumsy Feet.
20:51With this film you'll make money.
20:53You'll see.
20:55I'm fine with covering expenses,
20:57although Ballesteros says it'll be a success.
20:59Man, Mr. Ballesteros.
21:01We were talking about you.
21:03We were waiting for you.
21:05Oh, really?
21:07Yes, I told him to take a break
21:09and to come
21:11to tell us how everything is going.
21:17I hope everything goes well
21:19and that your aunt's story
21:21doesn't become a false alarm.
21:23And I hope I can come back as soon as possible.
21:25I hope so too.
21:26I can imagine,
21:28because your luggage is light.
21:30Oh, no, don't believe you.
21:32I have more suitcases in the taxi.
21:34I asked him to stop to leave
21:36and say goodbye to you.
21:38It'll be hard for me
21:40to spend these days without you by my side.
21:42If you don't mind, I'll call you often
21:44to see that everything is going well
21:46and to hear your voice.
21:48I'd like nothing more, Celo,
21:50but I think it won't be possible.
21:52I've already told you that communications
21:54in the Pyrenees are very complicated.
21:56I couldn't even tell you
21:58where I was coming from.
22:00I'm sure there's a phone line at the station, right?
22:02Yes.
22:04I hadn't thought about that.
22:06Well, I'll try from there.
22:08Calm down, Lázaro.
22:10I know the trip is long and heavy
22:12and the reason isn't pleasant,
22:14but you don't gain anything
22:16by getting nervous.
22:18Yes, I know. I'm very sorry.
22:20It's just thinking about my aunt and...
22:22Having such a big heart
22:24Wait a moment, please.
22:36I've brought Teresa and Cañete
22:38to say goodbye to you
22:40and, above all,
22:42to assure you that everything will go well in your absence.
22:44That's right, no doubt.
22:46And we wish you a good trip.
22:50Well, see you soon, dear.
22:53Have a good trip.
23:09Hey.
23:11Have you seen that?
23:13What?
23:15Well, Mrs. Lázaro went that way
23:17and a woman came
23:19and started walking behind her.
23:21Teresa.
23:23It can't be your imagination.
23:26Well, yes, it could be.
23:29But Mrs. Lázaro has been
23:31very good at imagining lately.
23:33Don't you remember she asked us yesterday
23:35where she could get a gun?
23:37But let's see, Teresa.
23:39Does Mrs. Lázaro seem dangerous to you?
23:41Well, look, I think she's scared.
23:43She must be worried.
23:45Come on, how would anyone be
23:47if his aunt is on the deathbed?
23:54Well, Mr. Director,
23:56I stand at your feet
23:58and I would like to inform you,
24:00if you don't mind,
24:02of a matter that
24:04will surely be of interest to you.
24:06Well, you tell me.
24:08Well, I think it will be of interest to you too.
24:11Well, it turns out that
24:13here where you see me,
24:15I also did my spirits as an actor
24:17and my good times.
24:19Let's see, it's not out of modesty,
24:21but the result was remarkable, extraordinary.
24:23Let's see, if you need a solvent actor,
24:25here I am.
24:27But then you have experience.
24:29Yes, yes, a lot.
24:31Yes, yes, very observant.
24:33Yes, sir.
24:35Yes, I was a star
24:37in the parish theater group.
24:39I was doing it for many years.
24:41Yes, well, let's see,
24:43what I mean is that I was playing the star
24:45who guided the wise men.
24:47And the truth is that I did it.
24:49Yes, I got an extraordinary star.
24:51And was the role long?
24:53I don't want to boast,
24:55but not everyone has the ability
24:57to interpret the star well.
24:59Because it all depends on the brightness
25:01that has to be just right.
25:03Yes, in the presence
25:05and a very fine cadence of movement.
25:08And that's where one really sublimates himself
25:10and reaches art and magic.
25:12Sure, that's ...
25:14Well, we're going to take that into account.
25:17Thank you very much.
25:19Yes, well, no more talk.
25:21Very grateful.
25:23Well, if you'll excuse me.
25:25Excuse me.
25:33Did you order the champagne?
25:35Yes, yes.
25:37And after this nice interruption I continue.
25:39As I told you, it was a great success for me
25:41to give Laura more prominence.
25:43Yes, yes, my sister is worth a lot.
25:47I'm sure the film will improve remarkably
25:49and that's why I want to propose a toast to her.
25:59Laurita has a depth in her gaze
26:01that makes the camera fall in love.
26:03I've rarely seen so much truth in an actress.
26:05Yes, it's something I've never seen, of course.
26:07Yes, Laura, it's something I've never seen,
26:09but what I want to see is the finished film.
26:12When?
26:14Soon, very soon, before you think.
26:16And we have all the elements,
26:18especially one, to make it a success.
26:20Well, two.
26:22Laurita and me.
26:24I've enjoyed it like a child
26:26filming her last scenes.
26:28I'm not a very emotional person,
26:30but I have to say
26:32that I was even moved.
26:34Yes, that feeling,
26:36that tear, that...
26:38If you'll excuse me, I have to go.
26:40Why?
26:42Well, I think something has gone wrong.
26:44I'll go with you.
26:46No, no, no, please, don't worry.
26:47See you later.
26:49Goodbye.
26:51Agustín, I have an idea.
26:53I see it, I really see it.
26:55Tell me, tell me.
26:57Imagine it.
26:59But everything we touch,
27:02you and me,
27:04unites us
27:06like an arc.
27:09That a single voice starts from two strings.
27:13What instrument did they tense us with?
27:17And in which hand does that sound pulsate?
27:25I need that handkerchief, Pepita.
27:27I'm going out and I want to take the bet.
27:29Are you sure it's not in your room?
27:36Mom!
27:41What's that?
27:43What?
27:45That book.
27:47Ah.
27:49It's a poetry book.
27:51I was very focused,
27:53I didn't hear you come in,
27:55and you scared me.
27:57Since when is it poetry?
27:59I did it when I was a child.
28:01And now,
28:03I haven't done it in a long time,
28:05but yes, I like it, I like it a lot.
28:07Who's the author?
28:11Rilke.
28:13Rainer Maria Rilke.
28:15You've never read it?
28:17To know who the author is.
28:20Senorito Iván, your handkerchief.
28:22You were right, it wasn't in your room.
28:24If someone ever listened to me in this house...
28:27And where are you going now?
28:29To a cappella that García Alba organizes in his farm,
28:31in the outskirts of Madrid.
28:33And you told your father, Iván?
28:35And why should I tell him?
28:37Because after the fight you had with him...
28:39That's not going to change my plans.
28:41Look, Mom,
28:43I don't know if Dad has left me for impossible,
28:45but he has.
28:47Pepita, leave us alone.
28:54It's time for the sermon.
28:56Call it whatever you want, but you're going to listen to me.
29:00I'm sorry you had to have it with your father again,
29:04but know that the contempt you show
29:07is nothing more than a facade.
29:10You need his recognition,
29:12like everyone else in this house.
29:14And he doesn't stop trying to guide you.
29:17So what you should do
29:19is stop going out, spending money,
29:21and giving your father reasons
29:23to accuse you of being a scoundrel.
29:28That's it.
29:30I don't want to be late for the cappella.
29:32That's it.
29:34Go to that damn cappella,
29:36where there will be wine and liquor
29:38so you can keep drinking until you faint.
29:40Aren't you ashamed?
29:42Aren't you ashamed?
29:44Because I would be.
29:46You try to teach me how to face something
29:49that you haven't faced in your life.
29:51You, who allow Dad to treat you the way he treats you,
29:54who isn't much better than me.
30:01At least,
30:03I enjoy my life the way I do.
30:06Can you say the same?
30:11Yes.
30:18Goodbye, Mom.
30:20Wait for me at the ranch.
30:41Goodbye.
30:56Oh, sweets!
30:58What are they?
31:02Liquor.
31:04My favorites.
31:06Well, don't get upset.
31:08Don't let the tripes hurt you.
31:09Talk softly. My daughter is sleeping.
31:11Although I don't think she'll wake up because...
31:13No, she's awake.
31:15She was there.
31:17I heard you and I said,
31:19I'm going out to say hello to Elías.
31:21You don't have to. Go to your room.
31:23No, I'm here. I'm fine.
31:25I'm like a rose.
31:27But we're going out and we're taking Leon.
31:29Take a candy, woman.
31:31Elías will love it.
31:33You're making him ugly.
31:35Oh, what a clumsy girl.
31:37Oh, please, Elías.
31:39Yes.
31:41Be careful.
31:43Oh, my little thing.
31:45Oh, my little thing.
31:47Oh, look at you.
31:49How grumpy the boy is when he's with you.
31:53Well, it's just that I have a gift for children.
31:56Yes, it's in my personality,
31:58in my character, in my magnetism.
32:00It's a special energy
32:02that happens to the people around me.
32:04Even to the children.
32:06How wonderful.
32:07I've also been a balsam for my grandson, you know?
32:10Well, a balsam and a blessing, I'm sure.
32:13What I would say,
32:15why would you hold me in your arms?
32:17Well, I mean, like a child, like a puppy.
32:20I think it's terrible
32:22that you accepted Elías's candy.
32:24It's so good and it's a gift.
32:26Shut up, shut up.
32:28Were you saying something?
32:30Nothing, the stain is very dirty and it doesn't come out.
32:33Come on, look at that sleepy face.
32:35Well, come on, go.
32:37Take a walk, but make it short.
32:39Make it short.
32:41I want to put him to sleep very early.
32:43And tonight he's going to sleep,
32:45I'm telling you he's going to sleep like a baby.
32:47My grandson Elías has gone crazy.
32:49Well, well, well.
32:51The nights in Vela that I spent because of him.
32:53And not just because of the lantina.
32:55He had a gas problem when he was a teenager.
32:57But some gases, Elías.
32:59Some that I was, that I was.
33:01Some smells and some thunders
33:03that the neighbors said, what's going on?
33:05And a girl there, red, red, red, red.
33:07Like a little tomato that said,
33:09something was going to happen to him.
33:11And suddenly, plop.
33:13And that's it, he got more beautiful.
33:15Well, Valeria, Valeria.
33:17Man, Elías is not interested in the past.
33:19Of course, I find it very funny, Trini.
33:21Well, are you going to take a walk now?
33:23Come on, and come back soon.
33:25Come on.
33:27Let's see, Elías, do you put him in the car?
33:29Yes.
33:31You have such good hands.
33:33Let's see, little one.
33:36Like this, very careful.
33:38Oh, this rose, beautiful.
33:40Very good.
33:43Let's see, grab it there.
33:46See you later.
33:50When Miguel comes, he's going to be upset.
33:52He's going to be upset.
34:02Come on.
34:08Pietro.
34:10Oh, my God.
34:12Antonio.
34:14I've already had a headache.
34:16I'm very happy, but please don't be brave.
34:19Accompany me.
34:21Accompany me.
34:23I don't pretend to be brave, I really feel better.
34:27I'm very happy, honey, but I'd rather you were sitting.
34:30Leave me alone for a few minutes, please.
34:35I've already had a headache, but ...
34:38I'm sorry for being sitting for so long.
34:44I can't wait to go back to the lab.
34:47Oh, my God, there will be time for that.
34:51Time?
34:53It looks like you don't want me to come back.
34:55What nonsense is that? Of course I want to come back.
34:57I loved going to see you at the lab.
34:59But I loved our life.
35:03We're going to get her back, Antonio.
35:06Don't worry.
35:08And I'll go back to the lab.
35:12Well, I hope so.
35:14Which means ...
35:16that this nightmare is over.
35:18I promise you.
35:22Well, come on.
35:23Let's stop the drama, I have a lot to do.
35:26Wait a minute.
35:28I want to ask you something, Antonia.
35:30Yes, tell me.
35:32I was thinking ...
35:36that I should tell Lucia and Giancarlo, right?
35:41No.
35:43Why not?
35:45Because I already did it.
35:47They wrote me a telegram saying that you had surgery and that everything went well.
35:50Yes.
35:52I'm a wonderful woman.
35:54Yes.
35:56I'm going to scrub the blankets.
35:58Sit down.
36:00I'll help you, I'll help you.
36:02No, please sit down.
36:04I don't want to tell you more times.
36:06Don't act brave, honey.
36:08I already told you, I don't act brave.
36:10I just want to be distracted, Antonia.
36:12Come on.
36:14I want to help you.
36:16Well, if you really want to help me,
36:17you have to rest and recover as soon as possible.
36:20So please, patience and tranquility.
36:23Are you okay like this?
36:28Who could it be at this hour?
36:30I don't know, maybe it's news from the hospital.
36:43Hello.
36:44Oh my God.
36:46I almost didn't finish at the bookshop today.
36:51What a mess with the reception of some clients.
36:54A little more.
36:56Hey, I don't hear any of the two beasts.
36:59What happened to them?
37:01Well, they're not here.
37:03And where have they gone?
37:05Well, they're with the butler, who you yourself have looked for.
37:07The butler? What butler?
37:09Trini, I don't understand you.
37:11They're in the retreat with Elias right now, and this is your fault.
37:12Well, I don't see it so bad either.
37:15Elias and your mother are hanging out, as you said.
37:18Besides, your mother is fine with going out for a while
37:22and not being locked up here all day.
37:25Well, I don't know, really.
37:27You'll see, she's going to get more fussy
37:29and she's going to wonder if she fits more in Leon's care.
37:31Well, I don't know, I don't think so.
37:33But well, tonight I'm very tired and you're going to sleep on the couch.
37:37You're not serious.
37:39Yes, I'm serious.
37:40Because it's easier to sleep Leon in bed than in the crib.
37:43So, on the couch.
37:46You're not doing this to punish me.
37:50No, no, my love.
37:52Do you want me to punish you?
37:55Why?
37:57To make Elias and my mother in the retreat right now?
38:01But how can you think that?
38:03Of me? Oh, please.
38:05Look, since tonight I have nightmares
38:07about my mother's relationship with Elias becoming a relationship,
38:11I swear, look,
38:13since I gave the wolf his ears, I swear, I swear
38:17that I'm going to take measures.
38:20What measures?
38:22Yes, look, I don't know which ones, but measures, measures, I swear.
38:26Come on, let's see.
38:30Take it.
38:37And I'm going to sleep, you know why? Because I deserve it. Goodbye.
38:46Everything is to free me from the horror, everything is to free me from the horror, everything is to free me from the horror.
38:56Marta.
38:58Oh, honey, what a surprise.
39:01What a joy.
39:03Well, are you going to let me in or do we take a chair and chat here?
39:07Yes, come in, come in.
39:09Pietro.
39:11What a joy to see you so campy.
39:14I didn't expect to see you like this.
39:17Hug.
39:19But what are you doing here?
39:22And my question is how did you find out?
39:25Well, one that has a sixth sense and communicates through telepathy with you.
39:31Wait, sit down.
39:33Careful.
39:34You didn't tell her, did we agree that we weren't going to tell her?
39:38No, no, no, it wasn't me.
39:40But it seems to me that she is aware of everything.
39:43And why couldn't you tell me?
39:46Well, honey, because we didn't want to worry you.
39:50Yeah, and so that I wouldn't go back from Salamanca. Or am I wrong, Antonio?
39:54But there was no need for you to make such a long trip.
39:57You are exaggerating. If Salamanca is here next door, like they say.
40:01I didn't want you to have the obligation.
40:02Obligation, no.
40:04Well, better said, obligations with both of you.
40:07How am I not going to be with you right now?
40:10With everything you've done for me. I wouldn't forgive myself for that.
40:13Don't exaggerate.
40:15No, it's true, Antonio. I have to be up to it.
40:17Well, shut up, you're going to make me cry.
40:20I've missed you.
40:22And I've missed you. So much.
40:25So, how did you find out?
40:28Telepathy, I told you.
40:30Telepathy.
40:32It couldn't have been Esperanza.
40:34This woman doesn't stop gossiping.
40:36Well, look, even if it seems like a lie, and without precedents,
40:40this time it wasn't her.
40:42And who was it?
40:44You're heavy with the subject, Pietro.
40:46Marta, who?
40:48Well, okay.
40:50It was Miguel, who told Salvita.
40:53And even though he told her not to tell me anything, he told me right away.
40:56Wow, with Salvita.
40:57I almost killed you.
40:59I can imagine.
41:03Are you okay, Antonio?
41:06I just hope you're not angry because we didn't tell you.
41:09Angry? Me?
41:11Seeing Pietro like this, you're crazy.
41:14How can I be angry, Antonio? Not even a little bit.
41:17Oh, come here, honey.
41:24I can imagine how bad it must have been for you.
41:27But now I'm here and I'm going to help you get over it.
41:31I'm glad you came.
41:58You don't know how much I wanted to see you.
42:01And I wanted to see you.
42:03You know, I'm very proud of you.
42:06That you were able to tell all the truths.
42:09That you didn't give up our love.
42:12It's the most beautiful thing they've done for me in my life.
42:15I wouldn't give up your love for anything in the world.
42:17Not even yours.
42:19Are you calmer?
42:21After everything we've been through these days, yes.
42:24I am.
42:25Yes, since your father found out about us,
42:28it's been difficult days.
42:30Yes, but we shouldn't listen to him.
42:33And yes, to our feelings.
42:35Nothing will happen with our love.
42:37Nothing or no one?
42:39That's it.
42:41Neither my family, nor your mother, nor that we belong to different social classes.
42:44Our love is above those conventions.
42:47I love hearing you say those things.
42:50But Paula, we have to be smart.
42:52Be prudent.
42:53You need your family.
42:55You need your father.
42:58My father and I have more in common than he thinks.
43:01The thing is, we express them in a different way.
43:05I would love for my father to accept ours.
43:08And I would love for my mother to accept it.
43:11She's suffering a lot and she's afraid there will be reprisals against her.
43:16I think we should talk to them.
43:19Both of them.
43:20Yes.
43:22Because I can't keep avoiding your father forever.
43:25Tomorrow, when things are calmer,
43:28we'll go and talk to them.
43:41You don't have to go through everything again.
43:44It's perfect.
43:46It has to be.
43:47And if possible, I understand.
43:49Because not everyone can close Madrid-Cabaret for their exclusive use.
43:52Some silver weddings deserve that effort.
43:55They don't lack money.
43:57In fact, tonight they're all having dinner in a restaurant that they've also closed for themselves.
44:00What a level.
44:02And when they get to the gold wheels, what are they going to do?
44:04Well, there's still a lot left for that.
44:06But just in case, I'm going to offer them Madrid-Cabaret.
44:08And speaking of eating,
44:10you and I should have dinner.
44:12Tonight will be long.
44:14Why don't we go where the employees have dinner?
44:15No.
44:17I prefer to stay here for a while
44:19so I can keep going through things and make sure everything's in order.
44:22But you should go have dinner with the employees.
44:27Do you know where the tavern is?
44:29The usual one, I suppose.
44:31If not, I'll find them.
44:38Good evening, Mrs. Maruja.
44:40Good evening.
44:45Good evening.
44:54How do I hold my breath
44:56so I don't touch yours?
45:02I don't know how I dared to come here.
45:09I do.
45:11And I think you do, too.
45:15And curiously,
45:17you've come tonight
45:19when we can be alone for a couple of hours
45:21without anyone bothering us.
45:23I don't think it's a coincidence.
45:28It's our fate.
45:34I don't believe it.
45:37This situation is very embarrassing for me.
45:42I've never done anything like this.
45:46I must have gone mad.
45:54Well, in that case, blessed madness.
46:15Let's go.
46:16Let's go.
46:17Let's go.
46:44Rodrigo and I
46:45are aware
46:47that we shouldn't hide our relationship from you.
46:49We regret it wholeheartedly.
46:51We beg you.
46:53We beg you to trust us
46:55and give us a chance.
46:57I haven't asked you about begging.
46:59How are things with Laurita?
47:01We shot the last scene the day before yesterday.
47:03Ah, yes.
47:05Something has come to me.
47:07Esperanza says you approached her.
47:09Paula, what you need to have is patience.
47:11A lot of patience.
47:13Let her trust you.
47:16As for Rodrigo...
47:18Please.
47:20I ask you to give him a chance to rectify himself.
47:22Miguel,
47:24I don't know if you're aware,
47:26but if all goes well,
47:28we'll be relatives.
47:30Relatives of what?
47:32Let's see, if I marry your mother-in-law,
47:34I'll be your father-in-law.
47:36I know you might think
47:38that I'd like Rodrigo to marry Paula
47:40to ensure his future in the Pedraza family.
47:43But nothing more than that.
47:45What would she say?
47:47That she couldn't take the pressure?
47:49That her spirit is too free
47:51to accept...
47:53The what?
47:55The fake marriage?
47:57I wonder if she's already arrived
47:59to the lost village she was going to.
48:01Don't you think it's strange
48:03that she hasn't mentioned her family?
48:05Teresa, we all have an older relative
48:07that you might not see often, but...
48:09Listen,
48:11that woman is also involved.
48:13What woman?
48:15Paula.
48:17And regarding what happened this morning,
48:19I'm aware that I was expecting something different.
48:22But if I'm forced to make a decision,
48:25my choice will always be her daughter.
48:28It's been a nice experience,
48:30but I don't think I'll do it again.
48:32And what are you going to do with all that talent
48:34that God has given you?
48:36Are you going to throw it away?
48:38Yes, a gift to lose my sister.
48:40That's what I have.
48:42I'm not one of those who forget,
48:43Paula.
48:45Paula, I'm just asking you to be brave
48:47and don't let yourself be carried away by euphoria.
48:50Look, in this life,
48:52every decision we make
48:54is another step that takes us to the place
48:56where we deserve to be
48:58or to failure.
49:00So you have to be very careful with what you dream of.
49:02It was a mistake to kiss her.
49:04Do you know why?
49:06Why?
49:08Because since then I've only wanted to do it again.
49:10Agustín, what happened?
49:11Third death.
49:17Agustín, it's not me.
49:19I'm sorry, I'm sorry.
49:21But what happened? Who called you?
49:23And why did you run away?
49:25Ballesteros has decided to drive me crazy
49:27and he's getting it.
49:29Don't die.
49:31What took you so long?
49:33I've been looking for Chicory,
49:35and there wasn't any.
49:37You came to see Dr. Quiroga, right?
49:39They already have the definitive diagnosis.
49:41Bad news, Marta.