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00:00I'm sorry, I don't know how to help you, but I can't help you right now.
00:15Yes, that's it. I'm trying to contact Muro de Bellos.
00:18Isn't there a bar around there or someone who has a phone?
00:23What? What do you mean the town hall doesn't even have a line?
00:27I understand, yes, yes, of course, if the cable man doesn't arrive, it's normal, yes.
00:32Thank you for the information and I apologize for the inconvenience. Goodbye, goodbye, goodbye.
00:36Yes?
00:39Do you give permission, Mr. Fermin?
00:40Of course, Antonia, I'm already here for you.
00:45Well, first of all, how is the good Pietro?
00:48Well, quite encouraged, eager to return to the life of before.
00:52Of course, for those of us who like our job, being on our hands is desperate.
00:56But sit down, sit down, please.
01:00Have you had news from the doctor?
01:02No, no, not yet.
01:04Well, I'm sure that when they arrive, they are excellent, you just have to see how he is.
01:09Well, in fact, he is so well that he no longer needs me to stay with him for so long.
01:13So he is determined to resume my work here at La Moderna.
01:17In the end, he convinced me to want to regain my position if you allow it.
01:21Yeah, yeah, but you know he's not in a hurry.
01:24Well, that depends. I suppose my colleagues will be up to their necks to cover my positions.
01:28Yes, it is true that they are making an extra effort, but you do not worry about that.
01:33I will take care of compensating them as is due.
01:36You have been so good to us that I feel the obligation to ...
01:39Antonia, Antonia, your only obligation now is to make Pietro recover.
01:43Besides, I wouldn't feel good if I saw you leave him alone for a long time.
01:48Well, it occurs to me that maybe for a few days I can do half a day.
01:52So Pietro wouldn't be alone for so long and he could help my colleagues.
01:55Well, I don't think it's bad, especially now that my wife is not at La Moderna.
02:01Oh yeah? Have they told me that he had to go on a trip?
02:03Yes, yes, yes, he went to a lost town in the Pyrenees, yes.
02:08And will he return soon?
02:09I don't know, Antonia, I don't know, because I don't even know if I have arrived at his destination well.
02:14Hasn't he contacted you yet?
02:16No, no, no, not yet and I'm starting to worry because I have tried to contact that village and there is no way.
02:21It's just that no one has a phone.
02:23Don't worry, I'm sure he'll find out about her soon.
02:26I hope so, because I have no choice but to listen to the radio news
02:30in case there has been a train accident or a snowfall that has left the area uncommunicated.
02:34Don't get the worst of it.
02:36Think that bad news runs faster than good news.
02:39So if something had happened, they would already know.
02:41That's exactly what Agustín Comas told me.
02:45You can see that they have insisted on repeating that nonsense to reassure me.
02:50The truth is that I had to have accompanied her, Antonia.
02:53For those places, there must be even bears.
02:57Poor bear that is with Mrs. Lázara.
03:02Sorry, I said with all due respect to your wife.
03:06Yeah, yeah, I figured.
03:09Excuse me.
03:11Of course.
03:16Poor bear.
03:29A thin sigh? What's the matter?
03:33Nothing, I was just preparing the motorcycle for the return trip.
03:37I'm not so sure.
03:39I think you'll be fine.
03:41You've been very quiet since yesterday afternoon.
03:45I was thinking about the return trip and that this has only been a parenthesis.
03:52Let's see what we find when we return.
03:56I wish we could stay here longer.
04:00Or forever.
04:02I wouldn't care.
04:05Or forever.
04:07I wouldn't care.
04:10What madness, right?
04:12The two of us lost in these places like two hermits.
04:15I don't see it that way.
04:17I would live here with you.
04:19The two of us alone.
04:21Without anyone bothering us and without having to ask permission to love us.
04:24And what would we live on?
04:26If it had to be the animals I hunt, we would starve for a couple of weeks.
04:31Can we think of another plan?
04:33I'm afraid of what might happen to you.
04:37I'm thinking of not returning.
04:40Of not fleeing.
04:42Of escaping today.
04:44You don't want to go back to Madrid?
04:46We could get on the motorcycle and not stop until we're very far from everything.
04:51I don't know, go south.
04:53Get to Africa.
04:55Cross the savannah and end up somewhere where no one can find us.
05:00I would give anything to be able to do what you say.
05:03Let's do it then.
05:05What stops us?
05:07We just have to get on the motorcycle and hit the gas.
05:11The two of us know we can't do something like that.
05:14Why not?
05:15What are you afraid of?
05:17It's not fear that stops me.
05:19We have a responsibility to our families.
05:22Mine can handle them perfectly without me.
05:24And your mother won't miss anything even if you're not there.
05:28It's not just my mother that worries me.
05:31Then?
05:33Nothing that should worry you.
05:36Paula, isn't it time to plan something like this?
05:40Of course not.
05:42Especially if one of us is not for the job.
05:45It's usually a matter of time before we can be together.
05:50Look at me.
05:52Can you give me a kiss that I can remember when we separate?
05:57No.
06:09Stop it or whatever you do, I'm not going back to Madrid.
06:27I love you.
06:51Do you think Trini will agree to this?
06:53A deal is a deal.
06:55Trini and Amanda were hired.
06:57Don't you think it's a good idea?
06:59I'm a bit sorry. Elias is very excited about her.
07:02Don't feel sorry for him.
07:04I do feel sorry for him, Miguel.
07:06We'll find him another girl as soon as this is over.
07:09It won't be hard to find someone better than my mother-in-law.
07:12I guess so.
07:14But we've had a hard time turning Elias into a hunk.
07:17Yes, and now we have to go back to the process.
07:21We have to get him back to being the boss.
07:24I think it's easier to go from hunk to hunk than from hunk to hunk.
07:28Don't you think so?
07:30I think your mother-in-law's issue is going to drive us all crazy.
07:33Look, here comes the animal.
07:37Is he whistling?
07:39Yes, the one who sings frightens his enemies,
07:41and the one who whistles plans his plans.
07:43Clever, isn't it?
07:45Thank you, boss. It's from my harvest.
07:47And what are your plans?
07:49Well, I've thought about going to see Leonora tonight.
07:52What do you think?
07:53Go see her, but sing less than a cricket.
07:55Yeah, but I know a guy in the dunes
07:57who can sing to the sky as many times as I want.
08:01Don't even think about putting on that show in the corral.
08:04Everyone likes the dunes.
08:06Yes, but we have a little boy,
08:08and if you put on that show, he won't sleep all night.
08:11And so, the neighbors...
08:13You're right, Miguel.
08:15Leon, out of the dunes.
08:17A galley.
08:19What if I rent a car with horses
08:21and go all over Madrid?
08:23We can try a sparkling wine.
08:25No one beats me at gallant.
08:27We've created a monster, Miguel.
08:29Yes, it's very romantic,
08:31but I don't know if it suits you to do something like that.
08:34Of course it suits me.
08:36What I want to show Leonora
08:38is how cute I can be.
08:40Yes, but the one you pretend to be
08:43is not your real self,
08:45and that's cheating.
08:47Elías, you always end up discovering.
08:49The best thing you can do now
08:51is show yourself as you are.
08:53Do you want me to be like her?
08:55Of course.
08:56There's nothing wrong with not listening all the time,
08:59or saying that classical music is a pain in the ass,
09:02or that you'd turn the Museo del Prado into a tavern
09:05instead of filling it with paintings.
09:07And if you have to release an eruption
09:09after drinking a beer,
09:11you don't have to offend anyone.
09:13It's a sign that you enjoy good health.
09:15You don't have to give her flowers, or chocolates, or jewels.
09:18In any case, you give her a kilo of brains
09:20and you give it to her so she can prepare them for you.
09:23Let's see.
09:24Do you think I can make this change now?
09:26It's not that you can, it's that you must.
09:29Now the most important thing is that you show yourself as you are.
09:32You've already won Leonora's attention.
09:34Now you just have to get her unconditional love.
09:36And you can do that by taking off the mask you've put on.
09:40Yeah, well, all this sounds very irregular to me.
09:43But why? Haven't we always advised you well?
09:45Yes, yes, and very well, very well.
09:47But this...
09:48Well, don't have any doubts.
09:50Anyway, I'm leaving.
09:52I'm leaving too.
09:58Miguel, Miguel, excuse me.
10:00Could you help us for a moment?
10:02Could you recommend us a play?
10:05Classical, modern, contemporary, avant-garde,
10:08in verse, in prose, in Spanish...
10:10Well, it doesn't matter.
10:11What we want is for it to have a strong female character.
10:14Yes, for example, a historical character.
10:17And what do you think of Juana la Loca?
10:20No, it's a very sad ending for a movie.
10:24And Agustina Raimundo Marías Aragosa Domenech?
10:26How does it sound?
10:28Agustina from Aragón.
10:30That one ended her life being a real heroine.
10:33Too much Guerrera for me, right?
10:36You see me shooting a cannon?
10:38When you bring out the genius, no one understands all that.
10:41I think a movie about Agustina from Aragón
10:43would be a great success.
10:44What a life, hers.
10:46Yes, well, she can give us everything she has.
10:48I'll need a guide to look for everything
10:50that's been published about her.
10:52Perfect, well, we'll go through the bookshop.
10:54Thank you very much.
10:55A pleasure.
10:58Well, Agustina from Aragón doesn't sound bad, does it?
11:01Damned French.
11:03You won't take the pillar.
11:09A few days later
11:19Did you get up early or didn't you go to bed?
11:22The first one.
11:23I'm waiting for an important call.
11:27And can I ask you who it's from?
11:29Or better yet, not to know?
11:30Of course.
11:31It's a friend from France.
11:33He's coming to Madrid next week.
11:35Tell me, isn't he one of those you met in Marseille?
11:38No.
11:40In this case, his name is Pablo and he's a painter.
11:43Well, it would be great if you gave a hand in painting to the cabaret.
11:46Some walls have some skulls that...
11:49He's not exactly that kind of painter.
11:52I think it would be a bit expensive for Pablo Picasso
11:54to paint a wall for us.
11:57Do you know Pablo Picasso?
11:59We've had some cake together,
12:01but we're not close friends.
12:03And how did you meet him?
12:05In France, we used to go to the same parties.
12:09He wasn't that famous back then.
12:11Is he coming to Madrid Cabaret?
12:12That's right. I'm thinking of throwing a party in his honor.
12:16It would be great for the place.
12:18And I'd love to meet him.
12:20Do you think he'd make a portrait of me?
12:23We can think about it,
12:24although I don't know if you'd recognize yourself in him.
12:27Well, I'm sure he'd capture all my beauty.
12:30Even if it's with that particular way he paints.
12:35While you wait, I'm going to check the existences.
12:38Wait a minute.
12:39How was the other night with Ivan?
12:42Well.
12:43Good, good.
12:45Now he says he wants to set up a nightclub.
12:49For me, it's a fantasy of a rich boy.
12:51Another one.
12:53You can't take anything from Ivan seriously,
12:55but it's funny.
12:58Even if you think it's so harmless,
13:00I think you should keep your distance.
13:04I don't like Ivan's mother either.
13:06And I have to endure, without resisting,
13:08that you are more and more interested in her.
13:10You can't compare one thing with the other.
13:12Why?
13:13Because you're a man and I'm a woman.
13:16I don't want to talk about Maroja with you.
13:18I think it's fine.
13:19I don't want you to think
13:21with whom I can or can't alternate.
13:24Look, sister.
13:25I don't mean to meddle,
13:27but I don't understand how you can feel attracted to that guy.
13:30He's a drunkard.
13:32When he's not drinking, he's sleeping.
13:34What do you see in that guy?
13:35I'm sorry.
13:37Behind all those layers of cynicism and drunkenness,
13:40there is simply a poor boy
13:42who dies for doing something good in his life
13:44and that his father slaps him on the shoulder.
13:46Well, I think he should start coming out of the nest
13:49and live without the approval of mom and dad.
13:51That's what being an adult is about.
13:55PHONE RINGS
14:05Madrica Veret, tell me.
14:08Yes, it's on now.
14:10Who is it from?
14:14Cesar!
14:22It's Pablo Picasso.
14:25Pablo!
14:27No, no, no, it was my sister Mercedes.
14:30What do you mean you didn't know I had a sister?
14:33Well, you've also hidden something from me.
14:38Uh-huh, but what day exactly?
14:48Thank you, Manuel.
14:51Well, this is something else.
14:55With the patent renewed, we can be more at ease.
14:59Let me tell you something.
15:01I still have a score to settle with Cuadrado.
15:03I hope this business takes shape as soon as possible.
15:08Take shape, you say?
15:11Let me show you something.
15:19They just brought this from the factory.
15:25Let's see.
15:33Look.
15:37I want you to feel its softness.
15:41Its resilience.
15:45It does look resilient, doesn't it?
15:47It's not.
15:49That, my dear friend, will revolutionize the world,
15:51as much as aviation.
15:52We're going to make more money than we're capable of spending.
15:57I'd rather not sell the bear's skin before hunting it, Emiliano,
16:01because what will happen if the business doesn't work?
16:05Oh, no, I don't even consider that.
16:07It's impossible, Fermín.
16:09Let's see, I understand your skepticism.
16:11Because you know me, and I'm all or nothing.
16:14Either the most absolute ruin or the greatest of fortunes.
16:18But in this case,
16:19it's going to be the latter.
16:49Let's go.
16:55Aren't you going to say anything?
16:57What do you want me to say?
16:58If you can't say,
16:59this mouth is mine,
17:00without God's mouth, it's Christ's mouth.
17:02Well, you're not free from sin either.
17:05Sometimes we should hold back a little.
17:07You and me.
17:09Well, if you say so,
17:10because of the conversation we had yesterday in front of Antonia,
17:13the truth is that we weren't quite right, right?
17:15We should be ashamed of ourselves.
17:18We agree on that.
17:19We did very badly.
17:20Poor Antonia comes to distract herself for a while,
17:23and we get carried away like two cats.
17:25To know what she will have thought of us,
17:27as if she didn't have enough problems in her house.
17:30We both have to control our genius.
17:32Well, one more than the other, huh?
17:34That the trifulga was set up,
17:36because you said that I didn't let him put that saint in the laborer.
17:39I only told what happened.
17:41Soatea.
17:42Well, you didn't have to tell it, then.
17:44And besides, you told it with a very bad mouth,
17:47that he doesn't take advantage of the occasion, huh?
17:49He's going to get in trouble.
17:50And then we go from Santurronas.
17:53You see?
17:54We crossed two words and we're already in the ditch.
17:59You're right, huh?
18:02Well, we should do something.
18:06I don't know.
18:09We could make an armistice,
18:12an amist...
18:13How is it?
18:14A truce, like in the war.
18:16If we put a few rules,
18:18we get along better in the deal.
18:22Well, I don't think it's bad.
18:24We should think about it.
18:26Well, I have them very clear.
18:28Let's see.
18:29Veteranism is a degree.
18:32In case of doubt, my criterion is the one that counts.
18:35Yes, don't laugh.
18:36Let's see.
18:37Cleaning is the main thing.
18:39For everyone.
18:40From Mr. Fermin's office to the bathroom,
18:43going through this laborer.
18:45If I have to clean, I clean.
18:48You're doing what you're doing.
18:50Hey, hey, hey.
18:51Wait, wait, wait.
18:52If it goes on like this,
18:53this is going to be the law of the ditch.
18:55It's wide for you and narrow for me.
18:57No.
18:58We have to put the rules between the two of us.
19:03And what do you propose?
19:05Well, let's think about it better
19:07and tomorrow we'll bring our proposals.
19:09And between the two of us we'll reach an agreement.
19:12What do you think?
19:15Okay.
19:25Excuse me.
19:26I thought there was no one.
19:27No, come in, come in.
19:32How did it go in Valencia with the payments?
19:34Any problems?
19:35No, none.
19:36All in order, sir.
19:37Well, very good.
19:38You must be exhausted, right?
19:39After traveling all night.
19:41I have taken the opportunity to give some heads up.
19:44Is that the synthetic fiber?
19:46Yes, sir.
19:49This is the material that will replace the cotton.
19:55Have you found any?
19:57I don't want fugitives.
19:59I want fallen.
20:01Fallen!
20:02Do you understand?
20:04Find them.
20:05Find them and see if the fallen will end up being you.
20:11I don't want any trace of this village left.
20:15Nor of those damn natives.
20:18Let's go.
20:20And what's going to happen to the families that live from those harvests?
20:25What's going to happen?
20:26That they will have to dedicate themselves to something else.
20:30Or emigrate to another city.
20:32It's not our business.
20:34Those lands were taken from them to plant cotton.
20:37Don Emiliano, they're going to be stranded again.
20:40Rodrigo, you're starting to talk like a daughter.
20:42And you know what?
20:45I have to give it to her.
20:48Not to you.
20:52Do you need anything else, sir?
20:54Yes.
21:00Take this to my office.
21:04Excuse me.
21:14You've been a bit harsh with the boy.
21:16He seems like a very good person and...
21:20And quite loyal.
21:21Ah, yes.
21:23Do you think so?
21:26I've given that boy a job.
21:28A future.
21:29And you know how he pays me?
21:31By seducing my daughter.
21:34Do you think that's loyalty?
21:44Look who's back to work.
21:47Oh, so early.
21:50Well, I only came half a day ago.
21:53I'm sorry, I couldn't do more.
21:54It's too much.
21:56I should spend all the time with Pietro.
21:58To send us the good as soon as possible,
22:00so he can take care of his job.
22:02What you want is to get rid of me as soon as possible, huh?
22:06Don't look for me, Herminia.
22:08We've already talked.
22:09I don't want to talk to you.
22:11Don't look for me, Herminia.
22:13We've already talked.
22:14As soon as we have our rules of conduct,
22:17we're going to get along very well.
22:19Have you set some rules of conduct?
22:21Yes, ma'am.
22:22Do you think it's bad?
22:23No, no, no, I think it's very good.
22:25Let's see how long some intentions last, huh?
22:28I would ask you to try to get along as best as possible, huh?
22:31Pietro is going to take a while to come back.
22:34And has that gotten worse?
22:36No, no, no, don't be alarmed.
22:37It's just that, well, the recovery is a little slower than we thought.
22:41As soon as I get a package that I'm waiting for from the town,
22:43I'm going to give him some sausages to cool him down with potatoes.
22:46He's going to get stronger than a bull.
22:48Well, and if I add some leeks,
22:50he's going to get like a champion.
22:53The important thing is that he gets better, isn't that right?
22:55Yes, of course, of course.
22:57What happens is that there is no definitive diagnosis yet.
23:01Yes, it takes time for a doctor or a judge.
23:03Yes, it takes time, yes, yes.
23:05Although I, well, if the diagnosis were bad,
23:08I don't know if I would tell him, right?
23:11Because in the end, why give him that disgust?
23:15Daughter, I don't know, Antonia.
23:16I, instead, I would like to know,
23:18even if the prognosis was very bad.
23:21I'm not of that opinion.
23:23Eyes that don't see, heart that doesn't feel.
23:26Sometimes it's better to live in inopia.
23:28Well, if they ask me, I don't know what I would say, huh?
23:31Because if I think about it, I would tell him,
23:33but if I think about it again, I wouldn't tell him, hey.
23:36Well, let's leave this conversation,
23:37which seems to me that it doesn't make much sense.
23:40Pietro is getting better at sight, isn't he?
23:43Well, the diagnosis, the only thing he's going to do is confirm his recovery.
23:56How did it go for you in Cáceres?
23:58Very well.
23:59The trip didn't go badly for me.
24:02You can even say that it was very pleasant.
24:06That's because you closed all the contracts.
24:09Yes, everything was better than I expected.
24:13I'm glad for you, little sister.
24:15At least one of the two is doing great.
24:18You're very excited today.
24:20It's the first time in months that I don't see you grumpy or hurt.
24:24What is that change due to?
24:26That I have an idea that I want to put in motion.
24:30I want to set up a cocktail bar.
24:32Just with your friends, you would already have enough clients.
24:35And if I don't do it wrong, someone else would come in.
24:38I've told our father about it.
24:40And?
24:41And he hasn't given two jumps of joy, but he thought it was a good project to invest in.
24:46Well, very good.
24:48Good morning.
24:50The day is starting to get cloudy.
24:52What a pity.
24:53Iván.
24:54Don't worry, it will clear up soon.
24:57I just came to bring this envelope that your father asked me to leave here.
24:59How was your trip to Valencia?
25:02No problems.
25:04It has been a very pleasant trip.
25:07You two have said practically the same thing.
25:10And that you would have gone together.
25:13Iván, I thought of proposing to your father that you help me with the company.
25:17I don't need your charity.
25:19It's not about charity.
25:21I'm just trying to help you with him.
25:23Save the effort.
25:25I don't need any intermediary.
25:26And at least one who is not exactly happy with him.
25:29Don't take Rodrigo's offer too seriously.
25:31I don't need his help.
25:33And you have managed to make him lose his appetite.
25:36I remind you that you cannot stay together in the same room.
25:39It is an order from our father.
25:41I'm not going to agree.
25:43We'll see how he feels when I tell him that you have disobeyed him.
25:46That you are a little boy who goes to his daddy to have fun?
25:49Stop arguing.
25:51I'm leaving.
25:56Goodbye.
26:02Excuse me.
26:04Wait for me. I'm going with you to the gallery.
26:06I have to finish a couple of things in the store.
26:08Goodbye.
26:27I hope you are not very angry about my little disappearance.
26:30I owe you an apology.
26:32I'm fed up with you, Ballesteros.
26:34I'm fed up.
26:36How dare you get involved in my movie?
26:38I apologize.
26:40I had never done anything like this.
26:42Ah, then I must congratulate me for being the first to do this.
26:46If you want, I'm going to the cinema.
26:48I'm going to the cinema.
26:50I'm going to the cinema.
26:52I'm going to the cinema.
26:54I'm going to the cinema.
26:56I'm going right now to get the tapes of the movie that I got in the car.
27:00Of course I want them, that material is mine.
27:02And I'm not arguing with you about that.
27:04I can only apologize to you once and a thousand times.
27:07I know I have gone too far, but I have done everything for the good of the movie.
27:09But stop justifying yourself.
27:11What you've done to me is an outrage.
27:13Let him explain it to me, Agustín.
27:15Ballesteros.
27:17You gave us a terrible scare.
27:19I know.
27:21That's why I apologized to Agustín.
27:23And now I do it to you, with both of you.
27:24He doesn't want to explain himself.
27:26I don't think he can, but... let's see.
27:34Do you have a minute, Ballesteros?
27:37I have the best material I've ever filmed in my life.
27:40But the final result is not what I expected.
27:43We need to re-edit the film.
27:45Re-edit it?
27:47That's impossible. That's more money, more expenses.
27:50I knew this was going to be your reaction and I understand it.
27:52That's why I forced this situation.
27:54So what you've done is blackmail.
27:56You call things by their names.
27:57You're a pervert.
27:59Give us the film and leave at once.
28:01Wait, Agustín, please.
28:03I'm curious to know what you want to do with the new editing.
28:08The changes we've made to lengthen Laurita's character have enhanced the whole film.
28:13It has grown in interest, in drama and, above all, in emotion.
28:16We've already talked about that, haven't we?
28:18We don't need more changes.
28:19You're wrong.
28:20We have to make them to add more weight to the plot.
28:22To show the dimension that the story has now,
28:24so that the audience falls in love with it
28:26and can't stop looking at the screen for a second.
28:28No, the film is fine as it is.
28:30It could be better.
28:31Agustín, those seven sequences with Laurita are the new engine of the story.
28:35If you let me make those changes,
28:37I guarantee you that the film will be a resounding success,
28:39both in box office and in critics.
28:43I like what you're saying.
28:46Well, and if not, we can always go back to the previous editing version.
28:50Sure, and what can we lose?
28:53More money, Inés.
28:56You decide.
28:58Release a good film,
29:00or make a masterpiece.
29:09Fine.
29:12You can re-edit the film.
29:14But that will be the final editing.
29:17Not one more minute of delay.
29:19Count on it.
29:31Hi.
29:33Hi.
29:40How's the day going?
29:42Great.
29:45I played chess with Marta.
29:49It was hard for me to beat her.
29:51Did she leave you alone?
29:53Yes, she went to the dairy.
29:55We didn't have any milk to make coffee.
29:58I see that you get along very well without me.
30:00I told you that you could go to work without fear.
30:03Sit down.
30:06How's it going in La Moderna?
30:09Do you miss me?
30:10Yes, a lot.
30:11Well, especially Esperanza.
30:13She keeps asking me when I'm coming back.
30:15You told her that it will be soon, right?
30:18I told her that we don't know yet.
30:21Tell me that I feel good.
30:23It doesn't make sense to be here doing nothing.
30:25You have to be patient, Pietro.
30:28Patience for what, Antonia?
30:30All I want is to forget all that.
30:33And go back to normal, that's it.
30:35Why risk and get worse?
30:37Why?
30:39You know what?
30:41If you've learned anything from this disease, Antonia,
30:44it's that time is the most precious thing we have.
30:50Every day is a gift.
30:52And every day counts.
30:55And we have to make the most of it.
31:05Leonora!
31:06Hello.
31:08I came to see how you are, Pietro,
31:10and to bring some lentils that I made.
31:12They told me that you have returned to La Moderna,
31:14and we all have to bow our shoulders here.
31:16You are in everything.
31:17Thank you very much.
31:18Come in, please.
31:23Pietro, how are you?
31:24Hello, fine, thank you.
31:26The joy that a house gives to see a happy child.
31:31Can I have a little bit?
31:32Of course.
31:33Bye.
31:35Hello.
31:37Oh, yes.
31:39I like children so much,
31:41and I love Bimbi.
31:43I can't wait for Giancarlo to make me a grandfather.
31:46I didn't know you had a son.
31:48Yes, yes, he lives in Italy.
31:50And when we have time, I want to travel with Antonia.
31:54Well, but that's a very long trip.
31:56First you have to get well.
31:58Yes, yes, of course, and it will be very soon.
32:00And I have to give Giancarlo an earful,
32:03to hurry up with the grandson.
32:05I don't want to be an old grandfather who can't move.
32:08Well, I hope you are luckier with your daughter-in-law
32:10than I am with my son-in-law.
32:11But look, he's a piece of bread.
32:13Yes, but dry for several weeks.
32:15I didn't give him to a family dog.
32:17And now, for God's sake.
32:19What a joke.
32:20Oh, I'm very happy to see you so excited.
32:23I feel so good that I can't help but be optimistic.
32:27Well, go buy the tickets.
32:29You're going to Italy soon.
32:32Sit down, please.
32:34Do you want a snack?
32:35Oh, yes, I appreciate it.
32:36Yes.
32:37Go with Grandma.
32:38Please.
32:39Like this, like this.
32:47Picolino, lion, lion.
32:50Picolino.
32:57Come back in a few days,
32:58that we will have a winter genre of the most modern and very warm.
33:05Paula.
33:08Mother.
33:10How was the trip to Cáceres?
33:12Have you seen interesting things?
33:14Yes, very interesting.
33:17I'm going to have to repeat that kind of trips often.
33:21I came to remind you that tonight at dinner
33:23we will celebrate the anniversary of the hacienda in Argentina.
33:27You did well.
33:28I had completely forgotten.
33:29But Paula,
33:30how come you don't know how important it is
33:32that the whole family is at that celebration?
33:34Of course I know, mother.
33:35And I assure you that I will be at dinner.
33:37I have not missed any year.
33:38Not even when I was studying in England.
33:40As is natural.
33:41It is a very important event for us.
33:44Yes, almost more important than Christmas Eve.
33:47I'm glad you understand.
33:51Daughter,
33:53you don't have anything of my style in the store.
33:56Well, mother,
33:57you are very classic and very conservative.
34:00Well, not always.
34:04Oh, I forgot.
34:06Your father has decided
34:07that tonight we will only be the family.
34:10There will be no guests like in other years.
34:12No guest.
34:14You say it for Rodrigo.
34:15That's right.
34:16He is not from the family and never will be.
34:18But he has always been at the anniversary dinner.
34:20Well, not this year.
34:22And please, don't stretch the rope.
34:24It's about to break.
34:26It's about to break.
34:42Take this order, please.
34:50Teresa, I'm going home now.
34:51Please take all the messages
34:53and if my wife calls,
34:54send someone to let me know immediately.
34:58Oh, because he hasn't shown up yet?
35:00No, nothing, not a word.
35:03And I'm starting to worry.
35:06Maybe he hasn't been able to get in touch with you
35:09because he hasn't gone around the corner.
35:12Yes, yes, I told him it wasn't going to be easy,
35:14but it's been a prudent time.
35:15And he hasn't gone to the Amazon jungle either, damn it.
35:18And you don't have the address of the town where he was going
35:20that maybe he can send you a telegram?
35:22No, no, I didn't have the precaution
35:23to write down his aunt's address, no.
35:28Where can we get a gun?
35:31A gun?
35:33The one to shoot?
35:34Yes, Cañete, yes, a gun.
35:37A gun, a revolver.
35:39I thought it would be good for us to have it here, just in case.
35:42Just in case what?
35:44Have you forgotten the troubles we had here?
35:47Teresa, why do you look like that?
35:49Do you think it's strange that I'm going to visit your aunt?
35:52No, no, no, I think it's normal.
35:56I'm sorry, I've lost my mind.
36:00Well, I've said it,
36:01if someone calls, please let me know as soon as possible.
36:04Yes, we will, yes.
36:10How crazy, Mr. Fermin, he doesn't usually leave so soon.
36:12How crazy, Mr. Fermin, he doesn't usually leave so soon.
36:15Well, what's up with the poor man
36:16who doesn't get the shirt to the body
36:18of the concern he has for Mrs. Lázara?
36:20He doesn't have news of her yet.
36:22You haven't told him anything about the gun?
36:24No, I haven't told him anything.
36:26But I don't know if I've done it right or wrong.
36:28No, you haven't done it right.
36:30It's better not to make him more nervous.
36:33Yeah, maybe you're right.
36:36It's enough that Mrs. Lázara doesn't give signs of life.
36:39Hey, when we close, I'll wait for you to take a walk.
36:42We have a very important thing to celebrate.
37:01Has Picasso confirmed that he will come?
37:03That's right, so we'll have to honor him as he deserves.
37:06I'm sure he's a passionate person.
37:09Did you know that he set up his first exhibition
37:11when he was only 13 years old?
37:13The first thing he said when he was a little boy
37:15wasn't, Mom, Dad, but, give me a pencil.
37:18And did you know that he was accused of stealing the Mona Lisa?
37:21And did he do it?
37:22Of course not.
37:23They just got confused because he had bought some stolen figurines.
37:26They arrested him and Polignano.
37:28Luckily, that same afternoon, everything was resolved and they released him.
37:31I'm dying to meet him.
37:33I have to get him to make me a portrait, a sketch,
37:36even if it's a napkin, I don't know.
37:38It's fine, but please don't overwhelm him.
37:40It depends on the mood you get with him.
37:46Come in.
37:49Good afternoon, Iván.
37:50Good afternoon.
37:51How are you?
37:52Great.
37:54Are you coming alone today?
37:55Yes, and I'll be leaving soon.
37:58Aren't you going to have a drink?
38:00No, I can't.
38:01I have a family dinner that I can't miss.
38:04But I wanted to tell you that the project we're talking about is still going on.
38:11I thought that the drink place thing was just a fantasy.
38:15No, don't you see?
38:17I've talked to my father and he thinks it's a good idea.
38:20He gave me a good look to get it going.
38:23Don't you think it's fantastic?
38:25Yes, yes.
38:26Of course.
38:28I'm very happy for you.
38:30But I'm surprised that it's going so fast.
38:32Good ideas have to be put in motion right away.
38:36Now, don't leave me hanging.
38:37You know I'm counting on you.
38:39And, if you allow me, I'll let you know about all the progress in the business.
38:44I have it all planned out.
38:46Okay.
38:47Great.
38:48What I'm going to ask you is that you don't tell your brother anything for now.
38:54I don't like having secrets, Iván.
38:56And much less with him.
38:57Don't tell me you're one of those brothers who tell everything.
39:00Well, yes.
39:02You're the person I trust the most.
39:04But I won't tell him anything about what you're telling me.
39:06For now.
39:08Thank you very much.
39:10And let it be clear that I'm only committed to listening to you.
39:15That's enough for me.
39:17Well, I'm leaving.
39:19And let me tell you that I'm very happy.
39:22I'm glad.
39:24Goodbye.
39:30Goodbye.
39:38He's already left? He hasn't been here long.
39:41I just came to say hello.
39:42He's having a family dinner tonight.
39:45Sister, does it sound to you that this ball is being repeated?
39:49I don't know, really.
39:56Jesus...
39:58You're not doing it right.
40:00No.
40:07Well, I think we're making a mistake.
40:09Why invite Elias to dinner?
40:11Well, of course.
40:12After convincing him with Cañete to show himself to your mother.
40:16Do you think it's going to work?
40:19Have you seen Elias in his salsa?
40:22It's also true.
40:23He's far from being the perfect couple.
40:25Of course.
40:27That's why I want your mother to see how she behaves at the table.
40:31She's going to see everything our friend is hiding.
40:33I see.
40:34But I think inviting Gamba is a bit excessive.
40:37Do you know how much this cost me?
40:39Well, it's an investment to which we're going to get his income.
40:42Knowing him, I'm sure he'll suck them dry until they're shiny
40:46and then he'll throw the shells on the floor.
40:48Disgusting!
40:49Well, whatever it is to disillusion my mother.
40:51Hello!
40:52He's already arrived.
40:53Well, I brought some gifts.
40:57Come in.
40:58Thank you, Fili.
41:03Hello.
41:04Hello.
41:05Well, I brought some sweets for the hostess.
41:08Wow!
41:09A bottle of wine for Miguel.
41:12And some flowers, of course, for Leonora.
41:15Oh, how nice. Thank you.
41:17But you shouldn't have bothered.
41:19No bother.
41:20You have to keep your family close.
41:22Well, I also brought a sleeping bag for Leon,
41:24but I'll give it to him when he wakes up.
41:25Wow!
41:26Wow, what a tray of prawns!
41:28You really want to throw the house out the window.
41:30Yes.
41:31Sit down.
41:32Well, it's the occasion.
41:33You deserve it.
41:34It's the first time we're all going to have dinner together.
41:36Well, enjoy.
41:38Okay.
41:47Take it, take it, take it.
41:48We don't use labels here.
41:54Let's see if you learn.
41:55This is how you eat prawns in the high spheres.
41:58You can tell that Elias has modus operandi,
42:00that he's a gentleman.
42:01Don't believe it, Leonora.
42:03This is learned by a gentleman of so many years.
42:06Well, if you'll allow me, I'll peel one for you.
42:08Oh, thank you.
42:09What a detail.
42:10Let's go.
42:11Let's go.
42:12Let's go.
42:13Let's go.
42:14Let's go.
42:15Let's go.
42:16Let's go.
42:17Let's go.
42:18Let's go.
42:19Let's go.
42:20Let's go.
42:21Let's go.
42:22Let's go.
42:23Let's go.
42:54Eleaz, many forgot.
42:55Remember what I said earlier.
42:56Just stand firm and good and don't shake hands.
42:57We're good friends.
42:58I'm gonna throw out all that confidence that I've gained
42:59over Leonora.
43:00We've explained that is not an easy thing to do!
43:01It can be yes or it can be no.
43:02No, I'm not calling off the strategy.
43:03Just imagine if I show myself being a killer Photo
43:05and Leonora doesn't like me.
43:07It's a risk I can't afford.
43:09Elias, my mother say you should take a look at Elias' location
43:12to help him calm down...
43:14Right now.
43:15Be careful.
43:16We're lost.
43:17Elias has become a gentleman.
43:21Elías has become a gentleman and he has no intention of stopping being one.
43:25And on top of that, he's the only one who knows how to calm down Leon.
43:27Perfect. This is the drop that fills the glass.
43:34Hey!
43:35What's wrong?
43:48Well, well.
43:52You look beautiful tonight.
43:55My necklace looks perfect on you.
43:57Do you like it? I bought it at Paula's shop.
44:00She launched it today.
44:01Well, the occasion deserves it.
44:03Oh!
44:06Thank you very much. I like roses.
44:10I've also prepared a few glasses to toast.
44:14But, well, what about this feast? What are we celebrating?
44:17Well, we're celebrating that today, just a year ago,
44:23you and I danced together for the first time.
44:26A year ago?
44:27That's right.
44:35And I remember that the first time we danced together,
44:37I thought you were the only woman I wanted to dance with all my life.
44:48Do you grant me this dance, Miss?
44:50Of course.
44:55Maestro, whenever you want, please.
45:18I have to admit that I'm just as nervous as on the first day.
45:21I hope I don't step on you too much.
45:30And do you remember when we were dancing on the first day?
45:34Yes, I remember.
45:35I remember.
45:36I remember.
45:37I remember.
45:38I remember.
45:39I remember.
45:40I remember.
45:41I remember.
45:42I remember.
45:43I remember.
45:44I remember.
45:45I remember.
45:46And do you remember when we were dancing at Madre Cabaret,
45:49and just when I was going to kiss you, Mario appeared?
45:53Look, it's better if we forget about that.
45:55And now no one is going to interrupt us.
45:57Ah, Teresa.
46:00Hi, Cañete.
46:01Have you seen my feeder?
46:04I can't find it anywhere.
46:05And of course, how am I going to bring the chickpeas tomorrow?
46:08By hand?
46:11Well, I'm going to look in the closet to see if I can find it.
46:14Well, you guys continue with what you were doing,
46:17because I haven't seen anything.
46:19Bye.
46:24Do you think it's better if we keep dancing somewhere else?
46:27Yes, much better.
46:28And I'll take this with me on the way.
46:36Maestro, you can go home.
46:39I owe you one.
46:44Bye.
47:07Good evening, fathers.
47:10Bravo for you, son.
47:11For once you have arrived on time.
47:14When you want, we can start serving dinner.
47:16Paula hasn't arrived yet.
47:21And can you tell me where she is?
47:23I have no idea, Emiliano.
47:25I suppose she's about to arrive.
47:27She must have had some trouble in the store.
47:29For once, I'm not the one who's late.
47:31It's something new.
47:33She doesn't know how important this dinner is for the family.
47:36She knows it perfectly well.
47:38I myself reminded her this afternoon.
47:41I hope you also reminded her that Rodrigo isn't invited.
47:45Yes.
47:46I told her dinner was only for the family.
47:51Pepita!
47:53Pepita!
47:54Sir.
47:55Please serve dinner.
47:57I won't wait another minute.
47:59Excuse me for being late.
48:02Rodrigo and I are already here.
48:05Pepita, can you put another blanket on, please?
48:07Paula.
48:08We agreed that dinner was only for the family.
48:11Yes, I know.
48:12That's why we came together.
48:15If Rodrigo can't sit at the table,
48:17then I can't sit at the table either.
48:19I'm sorry.
48:20I'm sorry.
48:21I'm sorry.
48:22I'm sorry.
48:23I'm sorry.
48:24I'm sorry.
48:25I'm sorry.
48:26I'm sorry.
48:27I'm sorry.
48:28If Rodrigo can't sit at the table, then neither can I.
48:38Emiliano Pedraza has to pay for what they did to me.
48:41And what they did to us.
48:45I won't forget him, Amaya.
48:48Emiliano was always going to trample our food farm.
48:53Why heapers.
48:55with each and every one of us and he was about to get it and you made a promise
48:59in front of the grave of me of Diego and my brother I swear that I will finish with Emiliano Pedraza
49:09for your memory
49:13if I came from Buenos Aires it is because the time has come I will fulfill my promise Maya
49:19the time has come for Emiliano Pedraza to pay for what he did to us
49:33any more surprises daughter no nothing else if there is no place at the table for Rodrigo then for me neither
49:49everything I hear about him sounds better so you don't take much pleasure from the job
49:58Mrs. flour and roller director because he returns right away you are not who to say
50:04that I am not who for what I am not who for what I go out immediately from this house and you
50:09have nothing to say you do not realize that Paula is using you for what she is going to want to use me
50:14to have fun and surely she does not do it with bad intentions but with all the opportunities
50:19that she is going to have in life with the type of people with whom she is going to surround herself, it does not make sense that she wants to
50:23pose a future on your side, not only my mother has an interest in Elias, but now
50:27he thinks that he is the most educated man on the planet, he venerates him as a Greek god,
50:33calm down, technique, this is what we are going to get rid of once and for all, have a very good day,
50:36don't even owe that attitude with Mr. Moore, let's say that I don't like it and that I also want to
50:41mark distances because soon we will have shared interests and how I look at you
50:46because as if I had asked for some lack like those little children who are about to plot something
50:51there you go you can tell from the tongue and you also know if they are going to be plotting something I have no idea
50:57or that it was his mother you know perfectly you are going to tell me he is going to realize that you are
51:02playing a role that you are deceiving him but hey, what else do you give if you already have Trini and
51:07Cañete has Teresa because I can't be with Leonora if the important thing here is that I am
51:11happy and you don't see what it has cost me to have this feeling that if Elias and that the sun comes out
51:17before you know what I thought that Mr. Fermin was running away to tell César
51:22Morel our plans, I make sure that this guy is not a problem for your business or for the
51:26family, that César Morel will find out who we are, the Pedraza did not want to intoxicate Mr. Pietro
51:32but he has thought when you are going to return to the worker, it is to organize the jobs, the
51:38disease continues its course. What does that mean? It means that he is leaving us, he does not have much time
51:44left. Tomorrow I am going to announce something important for me and another person. Are you waiting for a call or
51:50something? I don't know why you say that. Well, because you don't stop looking at the phone. And your singing classes,
51:56you haven't left them. No, it's just that today I don't have a singing class. Are you trying to get rid of me? Well, look,
52:02I think you are waiting for a call and I don't know why it happens to me that it is from Ballesteros, look.
52:08Do you mind if I answer? Inés, tell me. Excuse my boldness, but you don't have a good face.
52:15The lack of news from Lazara. I think I have to tell you something that caught my attention the day before
52:23César left. Well, you will see that he asked us if either of us knew where a gun could be urgently obtained.
52:30Get out, please. What are you going to do, kick me out of my father's place? Get out. Very well, I'm leaving.
52:36But tie the males well, couple. What I did to you the first time is going to seem like a joke compared to the one I'm going to organize for you next time.
52:46You know how it is. What would he have meant by that, what I did to you the first time?