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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.
26:56Do you want to see the film that took me to the cinema and which appeared in the picture?
26:59I want the film! That material is mine!
27:01I don't argue with you about that.
27:03I can only apologize to you one and a thousand times.
27:05I've gone too far, but I do everything for the good of the movie.
27:08Stop making excuses!
27:10You have devastated me!
27:12Let me explain, Agustín!
27:14Ballesteros.
27:17You have scared us.
27:19I know.
27:20That is why I apologized with Agustín.
27:22And now I apologize to you, with both you.
27:24He wants to explain himself.
27:26I don't know if I can, but... let's see.
27:34Do you have a minute, Ballesteros?
27:37I have in my hands 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.
27:55What you've done is blackmail. You call things by their name.
27:58You're a pervert.
28:00Give us the film and leave at once.
28:02Wait, Agustín, please.
28:04I'm curious to know what you want to do with the new editing.
28:09The 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.
28:17We've already talked about that. We don't need more changes.
28:20You're wrong. We have to do them to add more weight to that plot.
28:23We have to make the audience fall in love with it.
28:26They 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 the film will be a resounding success, both 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 or make a masterpiece?
29:09Fine.
29:12You can re-edit the film.
29:14But that will be the final editing.
29:17Not a minute more of delay.
29:19Count on it.
29:23Hello.
29:32Hello.
29:34Hello.
29:41How's the day going?
29:43Great.
29:45I played chess with Marta.
29:49I had a hard time beating her.
29:52Did she leave you alone?
29:53Yes, she went to the dairy.
29:55We didn't have milk to cut a coffee.
29:58I see you're doing well without me.
30:00I told you you could go to work without fear.
30:03Sit down, please.
30:05How's it going in La Moderna?
30:08Do you miss me?
30:10Yes, a lot.
30:11Well, especially Esperanza.
30:13Stop asking me when you're going back to Labrador.
30:15You told her it would be very soon, didn't you?
30:18I told her we didn't know yet.
30:21I don't feel well.
30:23It doesn't make sense to be here doing nothing.
30:25You have to be patient.
30:27Patience for what, Antonia?
30:29All I want is to forget all that.
30:32And go back to normal.
30:34Why risk yourself and get worse?
30:37Why?
30:38You know what?
30:40If I've learned anything from this disease, Antonia,
30:43it's that time is the most precious good we have.
30:49Every day is a gift.
30:52And every day counts.
30:54And we have to make the most of it.
31:04Leonora.
31:06Hi.
31:07I came to see how Pietro is.
31:10And to bring some lentils I made.
31:12They told me you came back to La Moderna.
31:14And we all have to bow our heads here.
31:16Thank you very much.
31:17Come in, come in.
31:22Pietro, how are you?
31:23Hello, fine, thank you.
31:25The joy of having a house and seeing a happy child.
31:30Can I have a little bit?
31:31Of course.
31:32Bye.
31:35Bye.
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.
31:49He lives in Italy.
31:50And when we have time, I want to travel with Antonia.
31:54But that's a very long trip.
31:56First you have to get well.
31:58Yes, yes, of course.
31:59And it will be very soon.
32:00And I have to tell Giancarlo to hurry up with the grandson.
32:05I don't want to be an old grandfather who can't move.
32:08Well, I hope you're 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 dog.
32:17And now, for God's sake.
32:19What a joke.
32:20Oh, I'm very happy to see you so excited.
32:23It's just that I 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.
32:40Like this.
32:47Piccolino.
32:48Lion, lion.
32:50Piccolino.
32:57Come back in a few days,
32:58that we will have a winter genre of the most modern and very warm.
33:06Paula.
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've come to remind you that tonight at dinner,
33:24we 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 do, Mother.
33:36And I assure you that I will be at dinner.
33:38I have not missed any year.
33:39Not even when I was studying in England.
33:41As is natural.
33:42It is a very important event for us.
33:45Already, almost more important than the good night.
33:48I'm glad you understand.
33:52Daughter,
33:53you don't have anything of my style in the store.
33:57Well, Mother,
33:58you are very classic
34:00and very conservative.
34:02Well, not always.
34:06I forgot.
34:08Your father has decided
34:09that tonight we will only be the family.
34:12There will be no guests like in other years.
34:14No guest.
34:15You say it for Rodrigo.
34:17That's right.
34:18He is not from the family and never will be.
34:20But he has always been at the anniversary dinner.
34:22Well, not this year.
34:24And please, don't overdo it.
34:26It's about to break.
34:37Put yourself with this request, please.
34:45Teresa, I'm going home now.
34:46Do me a favor to take all the messages
34:48and if my wife calls,
34:49send someone to let me know immediately.
34:53Ah, because he hasn't shown up yet?
34:55No, nothing, not a word.
34:58And I'm already starting to worry.
35:01I don't know what to do.
35:03And I'm already starting to worry.
35:06Maybe he hasn't been able to get in touch with you
35:09because he didn't go to La Gota de la Esquina.
35:12Yes, yes, I told him it wasn't going to be easy,
35:14but it's been a prudent time.
35:16And he didn't go to the Amazon jungle either, damn it.
35:18And you don't have the address of the town he was going to,
35:20that maybe he can send you a telegram.
35:22No, no, I wasn't careful
35:24to write down your aunt's address, no.
35:28Where can we get a gun?
35:31A gun?
35:33The one to shoot?
35:35Yes, Cañete, yes, a gun.
35:37A gun, a revolver.
35:39I thought it would be good for us to have it here,
35:42just in case.
35:43Just in case what?
35:44Have you forgotten the troubles we had here?
35:50Teresa, why do you look like that?
35:52Do you think it's strange that I'm going to visit your aunt?
35:54No, no, no, I think it's normal.
35:59I'm sorry, I've lost my mind.
36:02Well, I've said it,
36:04if someone calls, please let me know as soon as possible.
36:06We will, yes.
36:12What happened to Mr. Fermin?
36:13He doesn't usually leave so soon.
36:15He's looking for the poor man who doesn't get the shirt
36:17to the body of the concern he has for Mrs. Lázara.
36:20He hasn't heard from her yet.
36:22Have you told him anything about the gun?
36:24No, I haven't told him anything.
36:27But I don't know if I did the right thing or not.
36:29You did the right thing.
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.
36:40Hey, when we close, I'll wait for you to take a walk.
36:43We have a very important thing to celebrate.
36:57Have Picasso confirmed that he's coming?
36:59That's right.
37:00So we'll have to honor him as he deserves.
37:03I'm sure he's a passionate person.
37:05Did you know that he set up his first exhibition
37:07when he was only 13 years old?
37:09The first thing he said when he was a little boy
37:11wasn't mom, dad, but give me a pencil.
37:14And did you know that he was accused of stealing the Mona Lisa?
37:17And did he do it?
37:18Of course not.
37:19They just got confused because he had bought
37:21some really expensive figurines.
37:23They arrested him and Poliñano.
37:25Luckily, that same afternoon, everything was resolved
37:27and they released him.
37:28I can't wait to meet him.
37:30I have to get him to make me a portrait, a sketch,
37:33even if it's on a napkin, I don't know.
37:35It's fine, but please don't overwhelm him.
37:37It depends on the mood you get with him.
37:43Come in.
37:45Good afternoon, Iván.
37:47Good afternoon.
37:48How are you?
37:50Great.
37:51Are you coming alone today?
37:53Yes, and I'll be leaving soon.
37:55Aren't you going to have a drink?
37:57No, I can't.
37:58I have a family dinner that I can't miss.
38:01But I wanted to tell you that the project we're talking about
38:04is still going on.
38:08I thought the drink place thing was just a fantasy.
38:12No, you don't see it.
38:14I've talked to my father and he likes it.
38:17Don't you think it's fantastic?
38:19Yes, yes, of course.
38:22I'm very happy for you.
38:24But I'm surprised that it's going so fast.
38:26Good ideas have to be put in motion right away.
38:29Now don't leave me in the lurch.
38:31You know I'm counting on you.
38:33And if you allow me, I'll keep you up to date
38:35on all the progress in the business.
38:37I have it all planned out.
38:39Okay.
38:41I'll see you later.
38:43See you later.
38:46Okay?
38:47Great.
38:48What I'm going to ask you is that
38:50you don't tell your brother anything for now.
38:54I don't like keeping secrets, Ivan,
38:56much less with him.
38:57Don't tell me you're one of those brothers
38:59who 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 only commit 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.
39:37He's already left? He hasn't been here long.
39:40I just came to say hello.
39:42He's having a family dinner tonight.
39:45Sister, do you think this Albalan is being repeated?
39:48I don't know, to be honest.
39:55Jesus,
39:57you're not doing it right.
40:06Well, I think we're making a mistake.
40:09Why invite Elias to dinner?
40:11Well, of course.
40:12After convincing him with Cañete
40:14to show himself to your mother.
40:16Do you think it's going to work?
40:18Have you seen Elias in his salsa?
40:21It'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 that we're going to take advantage of.
40:42Knowing him, I'm sure he'll suck them dry
40:45until they're shiny and then he'll throw the shells at them.
40:48Disgusting!
40:49Well, whatever it takes to disillusion my mother.
40:51Hello!
40:52They're here.
40:53Well, I brought some gifts.
40:58Come in.
40:59Thank you, Fili.
41:04Hello.
41:05Hello.
41:06Well, I brought some sweets for the hostess.
41:08Wow!
41:09A bottle of wine for Miguel.
41:12And some flowers, of course, for Leonora.
41:15How nice, thank you.
41:17But you shouldn't have bothered.
41:19Not at all.
41:20You have to keep in touch with the family.
41:22Well, I also brought a sleeper for Leon,
41:24but I'll give it to him when he wakes up.
41:25Wow.
41:26Wow, what a tray of prawns!
41:28This is like throwing the house out the window.
41:30Yes.
41:31Sit down.
41:32Well, you deserve the occasion.
41:33It's the first time we're all going to have dinner together.
41:35Yes.
41:36Well, enjoy.
41:38Okay.
41:47Take it, take it, take it.
41:48We don't use labels here.
41:59Let's see if you learn.
42:01This is how you eat prawns in the high spheres.
42:03You can tell that Elias has mood swings,
42:05that he's a gentleman.
42:07Don't believe it, Leonora.
42:08This...
42:09This is learned by a gentleman of so many years.
42:11Well, if you'll allow me, I'll peel one for you.
42:13Oh, thank you.
42:14What a detail.
42:27Can I know what you're doing?
42:29Don't you remember what we talked about?
42:30You have to be like yourself.
42:31Come on, Miguel.
42:32I don't eat prawns like this all the time.
42:34Bullshit.
42:35I've seen you eat them and you suck them up to your knuckles.
42:38What are you doing now?
42:40Well, because I like it.
42:42And don't you see what I'm going through?
42:44I see the heads of the prawns
42:46and they seem to talk to me and tell me,
42:48eat me, eat me,
42:49the effort I'm making not to eat them.
42:50Well, suck them up until they're dry.
42:52No, I'm not going to do it.
42:53Because I'm not going to throw away everything I've got with Leonora.
42:55But we already told you that's a mistake of the fat people.
42:58It may be yes or it may be no.
43:00I'm going to change the strategy.
43:01Imagine if I show myself as I am and Leonora doesn't like it.
43:04I can't run.
43:08Elias, my mother says you can go to the bedroom
43:11to help calm the child.
43:13Right now.
43:14Send.
43:19We're lost.
43:21Elias has become a gentleman
43:23and has no intention of stopping being one.
43:25And on top of that, he's the only one who knows how to calm Leon.
43:28Perfect.
43:29This is the drop that fills the glass.
43:35Hey.
43:36What's wrong?
43:49But, well.
43:53You look beautiful tonight.
43:55My necklace looks perfect on you.
43:57Do you like it?
43:58I bought it at Paula's store.
44:00She released it today.
44:01Well, the occasion deserves it.
44:06Thank you very much.
44:08I really like roses.
44:10I've also prepared some drinks to toast.
44:14But, well.
44:15And what are we celebrating?
44:17Well, we're celebrating
44:19that today,
44:21just 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
44:39with whom I wanted to dance all my life.
44:51Will you grant me this dance, miss?
44:53Of course.
44:56Maestro, whenever you want, please.
45:27I have to admit that I'm just as nervous as on the first day.
45:30I hope I don't step on you too much.
45:39And do you remember
45:41when we were dancing at the Madrid Cabaret
45:44that just when I was going to kiss you, Mario appeared?
45:48Look, it's better if we forget about that.
45:50And now, let's not go back to the past.
45:53Look, it's better if we forget about that.
45:55And now, let's not go back to the past.
45:57Oh, Teresa.
46:00Hi, Cañete.
46:01Have you seen my food planter?
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 wardrobe 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.
46:53Good night.
47:06Good night, fathers.
47:09Bravo for you, son.
47:11For once, you arrived on time.
47:14When they want, we can start serving dinner.
47:16Paula hasn't arrived yet.
47:19And can you tell me where she is?
47:21I have no idea, Emiliano.
47:23I suppose she's about to arrive.
47:25She must have had an accident at the store.
47:27For once, I'm not the one who's late.
47:29It's something new.
47:30She doesn't know how important this dinner is for the family.
47:33She knows it perfectly well.
47:35I reminded her myself this afternoon.
47:38I hope you also reminded her that Rodrigo is not invited.
47:43Yes.
47:44I told her that the dinner is on me.
47:46I told her that the dinner is only for the family.
47:51Pepita!
47:53Pepita!
47:54Sir.
47:55Please serve the dinner.
47:57I won't wait another minute.
48:09Sorry for being late.
48:13Rodrigo and I are already here.
48:16Pepita, can you put another blanket, please?
48:18Paula.
48:19We agreed that the dinner was only for the family.
48:22Yes, I know.
48:23That's why we came together.
48:26If Rodrigo can't sit at the table, then I won't either.
48:37Emiliano Pedraza has to pay for what he did to me.
48:40For what he did to us.
48:43I won't forget it, Amaya.
48:47I have always been very aware that it was Emiliano
48:49who was responsible for our village being the grass of the flames.
48:52And of the shots.
48:54Because Pedraza set out to finish each and every one of us.
48:57And he was about to get it.
48:59And you made a promise.
49:01In front of the grave of Yayo, Diego and my brother.
49:06I swear I'll finish Emiliano Pedraza.
49:09For your memory.
49:12If I came from Buenos Aires, it's because the time has come.
49:17I will keep my promise, Amaya.
49:21The time has come for Emiliano Pedraza to pay for what he did to us.
49:33Any more surprises, daughter?
49:36No, nothing else.
49:38If there's no place at the table for Rodrigo, then there's no place for me either.
49:53Everything I hear about him sounds like improvement.
49:55So you don't take pleasure in the job,
49:58Mrs. Director of Flour and Roll?
50:01Because he comes back right away.
50:03You're not the one to say that.
50:04What? I'm not the one for what?
50:06I'm not the one for what?
50:07Get out. Get out of this house right now.
50:09And you? You have nothing to say.
50:11Don't you realize that Paula is using you?
50:13Why would she want to use me?
50:15To have fun. And I'm sure she doesn't do it with bad intentions.
50:17But with all the opportunities she's going to have in life,
50:20with the kind of people she's going to surround herself with,
50:22it doesn't make sense for her to want to consider a future with you.
50:24Not only does my mother have an interest in Elias,
50:27but now she thinks he's the most polite man on the planet.
50:30She worships him like a Greek god.
50:33Don't worry, Trini, we're going to fix this once and for all.
50:35Have a great day, Don Ivan.
50:37What's your attitude towards Mr. More?
50:39Let's say I don't like him, and that I also want to keep a distance
50:42because soon we're going to have shared interests.
50:45And how do I look at you?
50:46As if I had asked for something in return.
50:48Like those little kids who are about to plot something,
50:51Ivan can tell.
50:53And you too.
50:54Do you know if Ivan is plotting something?
50:56I have no idea. Not that I'm his mother.
50:59You know it perfectly well. Are you going to tell me or not?
51:01He's going to realize that you're playing a role,
51:03that you're cheating on him.
51:05What's the big deal?
51:06If you already have Trini and Cañete has Teresa,
51:08why can't I be with Leonora?
51:10The important thing here is that I'm happy.
51:12Can't you see how hard it's been for me to have this feeling?
51:15That's right, Elias.
51:16And that the sun rises before it sets.
51:18Do you know what I thought?
51:19That Mr. Fermin was in a hurry to tell our plans to César Morel.
51:22I'll make sure that guy isn't a problem,
51:24not for your business, not for the family.
51:27César Morel will find out who we are, the Pedraza.
51:30I didn't want to annoy you, Mr. Pietro,
51:32but have you thought about when you're going back to the lab?
51:35It's for me to organize the jobs.
51:37The disease continues its course.
51:39What does that mean?
51:40It means that we're leaving.
51:43He doesn't have much time left in life.
51:45Tomorrow I'm going to announce something important to me and someone else.
51:48Are you waiting for a call or something?
51:50I don't know why you say that.
51:52Well, because you don't stop looking at your phone.
51:54And your singing classes, have you left them?
51:58No, it's just that I don't have singing classes today.
52:00Are you trying to get rid of me?
52:02Well, look, I think you are waiting for a call
52:04and I don't know why I think it's from Ballesteros, look.
52:08Does it matter if I answer?
52:09Inés.
52:11Tell me.
52:12Excuse my boldness, but you don't have a good face.
52:15The lack of news from Lazara.
52:17I think I have to tell you something that caught my attention
52:22the day before César left.
52:24Well, you see, he asked us if any of us knew
52:27where we could urgently get a gun.
52:30Get out, please.
52:31What are you going to do, kick me out of my father's place?
52:33Get out.
52:34Very well, I'm leaving.
52:36But tie the males well, couple.
52:38What I did to you the first time is going to seem like a joke
52:40compared to what I'm going to organize for you soon.
52:46You know how it is.
52:48What did he mean by that,
52:50what I did to you the first time?
52:54AVAILABLE NOW