Salón de té La Moderna - Ep 187
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00:00I'm so glad to rest my feet once in a while.
00:03Feet and ears.
00:05I don't see the obsession that has entered you now, Elias, with the cards.
00:08There is no time that I did not take the opportunity to mend them.
00:12By the way, are you going to the demonstration?
00:15No. No, no, no.
00:17No, because the little time I have free, I have to organize everything about the wedding.
00:21No matter how much I do, it never ends.
00:23Between the invitation, the flowers, the invitations...
00:26Well, I have the afternoon off. If you need help...
00:29No, darling, thank you.
00:31Enough already that you've been fixing my dress.
00:33By the way, I got up this morning and it was already fixed, as you have done.
00:37I stay until late fixing it.
00:39You know that as I start sewing, I don't stop.
00:42Thank you very much. It was perfect.
00:46Let's see what Pietro thinks when he sees it.
00:48Antonia.
00:49What?
00:50Don't tell me that you haven't told Pietro yet that he is going to marry the same dress of his first wedding.
00:54Well, no. I couldn't. I was going to do it, I promise.
00:56But the issue of the bakery came up. And what do you want me to tell you?
00:59That does take away my sleep.
01:01I'm not surprised that he doesn't sleep.
01:03He is going to leave both of them his place in the modern to open his own business.
01:08I don't know.
01:09I don't know.
01:10I don't know.
01:11I don't know.
01:12I don't know.
01:13I don't know.
01:14I don't know.
01:15I don't know.
01:16I don't know.
01:17A business...
01:19What?
01:20Do you mean that Pietro is leaving the modern dress?
01:22Treni, close the door!
01:26And about this topic, please, keep your mouth shut.
01:28Yes, I keep my mouth shut.
01:29And with the key.
01:30I'm going to keep it a secret, but please, don't leave me like this.
01:33How is it that Pietro is leaving the modern dress?
01:35That's where you live.
01:36How do I ask you that?
01:37No, no, no.
01:38It's so difficult that you are looking for a placement right now.
01:40Well, I'm telling you because of that.
01:42No, it's not...
01:43Pietro doesn't want us to get married,
01:45No. He wants to find a job where we can be together.
01:49How romantic.
01:51And has he talked to Mr. Fermin?
01:52Because I don't think it would be funny for him to lose the star baker of La Moderna.
01:58No, not yet. That's what worries me so much.
02:01I feel like I'm lying to him.
02:03But daughter, the way things are, he hasn't found the right moment.
02:06These things can't be said like that, all of a sudden.
02:09He doesn't know how I understand him.
02:10What I don't understand is how that rule is still in place.
02:12Yes, until he worked at the stairs, he had co-workers who were married.
02:17Yes, when I got to work here, I also wanted to complain about this rule, remember?
02:22But the other co-workers, who were more veteran,
02:25well, they almost thought it was a good rule.
02:27That it has always been like this, that what is bad for one is bad for all,
02:31that you don't have to change it now.
02:32Ah, the force of habit.
02:34A rule is made to go through the years and then no one wonders if it makes sense or not.
02:37It was what she said, it doesn't make any sense.
02:39No, none.
02:40Let's see, it's not that I want to get married now, but...
02:44Trini, for example, if she wanted to get married, why couldn't she?
02:49If only she were going to get married.
02:51These days everything changes, the laws, the governments,
02:55but it seems that the issues that affect women go slower.
02:59And if it changes, I don't know, girl, but...
03:02maybe we won't see it, huh?
03:09I don't have any proof.
03:11It's just my intuition, but...
03:13I think César is hiding something from me.
03:17But are you sure about that?
03:19Yes, until now I didn't have any complaints, I was delighted with him, with his work.
03:22Yes, yes, I don't have any problem with his management of Madrid Cabaret.
03:26What happens is that the other day, when I was talking to him, I noticed something unsettling.
03:31And that's not normal, because I shouldn't have done it.
03:34Well, maybe it was because of the singer's incident.
03:38I understand that you have a sentimental relationship, don't you?
03:41Yes.
03:43We were talking about the opposite, that Inés suffered.
03:46And I noticed it uncomfortable.
03:49As if he was hiding something.
03:53But you're telling me that you think that César...
03:56No, no, no, I'm not saying that César is responsible.
04:00What happens is that he is usually very frank and direct.
04:03And in that conversation we had, he wasn't.
04:08I see.
04:10Well, the truth is that I still don't know what favor I can do to him with all this.
04:15Because I barely know César.
04:18Well, that's why I need you.
04:20I want you to go to Madrid Cabaret and observe everything.
04:23And write down everything that sparks his suspicion.
04:28Are you asking me to spy on him?
04:30I'm asking you to be my eyes.
04:31Because maybe nothing happens and what you're missing is my intuition.
04:36Okay, yes, I'll stop by Madrid Cabaret from time to time.
04:39I'll have a drink, I'll enjoy the music, the atmosphere.
04:43I think I've had worse jobs.
04:46Please, open your eyes.
04:49The last thing I need now is for something strange to happen in my business.
04:53The police have me in their sights and that would complicate my life.
05:02Oh, I don't want to see a rag in my life again.
05:05We've been cleaning the store all morning.
05:08Yes, who was going to tell us that a gramophone was going to accumulate so much dust?
05:12Well, how do you notice that Mario was dedicated to other things?
05:15Because he had the store sleeve by shoulder.
05:17Well, but the important thing is that now we have the genre as we like it.
05:21And that we have our own store.
05:24Hey, wouldn't Inés have to be here?
05:28Yes, she's in the hospital getting the treatments prescribed to her.
05:34Laura, I didn't tell you anything, but yesterday during the signature to the notary,
05:39Mr. Fermin didn't look very serious. Is he okay?
05:43Yes, my uncle is like me.
05:46He's happy because he's a doctor.
05:48But he can't stop thinking about what happened to Inés.
05:51They told us that we have to wait for the inflammation to go down to do more tests, but...
05:56But are you afraid of the worst?
05:59Yes, it seems that the irritation of the throat has caused an edema or something like that,
06:04the doctor said.
06:06We don't know very well what the consequences may be.
06:09My goodness, poor Inés.
06:11Just now that everything was starting to work out for her.
06:14My goodness, poor Inés.
06:16Just now that everything was starting to work out for her.
06:19She was about to sign the contract at the opera house.
06:22I wish it was all that.
06:24But what's the matter? Is there more?
06:26Last night Inés and César broke up.
06:30And since then Inés has been very discouraged.
06:33But Laura, what are you saying?
06:36Forgive the boldness, but do you know why they broke up?
06:39No, Inés doesn't want to talk about it and I don't see myself being able to insist, she has enough.
06:44But I don't know, they looked very happy, right? Like to break up overnight.
06:48And on top of that, in the situation Inés is in, she doesn't...
06:51Look, I think the same.
06:54I've been turning her around all night and...
06:56Don't say anything.
06:58But Inés sometimes said that things were happening at the Madrid-Cabaret that she didn't quite understand.
07:05Things? What things?
07:06I don't know, I didn't want to go into details, but...
07:10Strange people or situations that could be related to César.
07:16Are you insinuating that maybe César had something to do with Inés' accident?
07:21No, no, no, I don't know.
07:24Saying it out loud sounds crazy.
07:26Laura, listen to me.
07:28I don't see César capable of hurting Inés.
07:31He looked very in love, didn't he?
07:32Yes. Forget what I've told you, and forget about César.
07:36Now the important thing is to focus on Inés.
07:50Oh, now I feel it.
07:52My back is like new.
07:54Come here.
07:56Rosa, you're determined to get back to work, but I see you're still hurt.
08:02Hurt?
08:04Young women heal instantly.
08:07Well, I say it because of the head.
08:10Because she's cleaning the alley and she used to deny it.
08:13I mean, the pull on the back, but I think the mind too.
08:17The mind should be pulled by someone I know.
08:20Have you seen Cañete?
08:22No, why do you want to see him?
08:24Because I had to invite him to a demonstration, but I'll tell you later.
08:28A demonstration of what?
08:30Of fajas.
08:32Of fajas?
08:34But Cañete and you...
08:36Yes, you'll be interested too.
08:38Because they're fajas and corsets, the most comfortable and the best in the market.
08:43Or so Miguel says.
08:45Miguel too?
08:47Yes, Miguel too.
08:48Well, in fact, we're going to do a demonstration this afternoon at the bookstore at lunchtime.
08:53Miguel and I, you're invited.
08:55And why would I be interested in a faja?
08:57And corsets, fajas and corsets.
08:59Well, go to the bookstore and check it out.
09:02Well, maybe I'll pass.
09:04Because maybe a corset like that, well tightened on the back,
09:07it takes away the pain of a magician to work.
09:10Yes, of course, you too.
09:12That's exactly why you're going to be interested.
09:14Well, I'm going to look for Cañete.
09:16He has to be with Trini.
09:18I saw him holding her in his arms.
09:20In his arms?
09:22And I saw them kissing each other.
09:25If you mean what happened yesterday, Esperanza,
09:28I don't see anything wrong in helping a partner.
09:31Trini tripped and I picked her up in my arms.
09:33Period.
09:35Yes, yes, because you told her that a client left without paying.
09:38Yes, yes, you already told me that bullshit yesterday.
09:41If you want, I'll repeat it today too.
09:43The truths do not expire.
09:45Oh, there's no need.
09:47But boss, has Trini hit you again?
09:50Really?
09:52Start again?
09:54Nothing happens with Trini, Leñe.
09:56Let's see, but what problem do you have in opening your heart to me?
09:59Even if it's to tell me that you've fallen in love with Trini again,
10:02again, until the trunks.
10:04Come on, it's not a matter of love.
10:06Do you want to know what happens with Trini?
10:08Yes, of course.
10:10If I tell you what happens, do you stop being silly at once?
10:12Well, I can't promise you either, boss,
10:13but yes, tell me, tell me.
10:15No, what happens?
10:18It's just that he has a lot of imagination, Elias.
10:21And now he comes back inside that we have the whole living room.
10:24Let's see, let's see.
10:26He's in love until the trunks.
10:29All day with Trini in his mouth from now on.
10:32What a torture, really.
10:34I can't believe it, again.
10:44Oh.
10:56Oh, excuse me, Mr. Fermin.
10:58I'm sorry I didn't let you in.
11:00Yes, well, with all those folders and luggage you're carrying, it's ...
11:03Sorry.
11:05Oh my God, oh my God, what a shame.
11:07Excuse me, Mr. Fermin.
11:09No.
11:11Let's see.
11:13No, no, no, no, take it off, take it off, please.
11:15No, no.
11:17Don't worry.
11:19Oh my God, don't bother, you have these menesteres.
11:21I didn't bother you, woman.
11:23If you're so right in the world,
11:25I don't know why I'm so loaded with everything,
11:27I just don't have anywhere to leave it.
11:29And now on top of that, the mess of having it here,
11:31picking up garbage.
11:33No mess.
11:35And you know it can be installed
11:37in any of the rooms on the upper floor.
11:39Choose the one you like best
11:41and place your office there.
11:43I'm sorry, but on the upper floor
11:45I can't do my job well in the living room.
11:47You know I like to have everything under control.
11:49Not to mention, of course,
11:51that I prefer to be closer to you.
11:53Maybe you need me, I don't know,
11:55to dispatch anything urgent.
11:57Yes, yes, you're right about that,
11:59but I insist that you find a place
12:01where you can develop your work
12:03in a more comfortable way,
12:05not with this suit and ...
12:07Well, if you insist,
12:09maybe, I don't know, you could install me here.
12:11Here.
12:13Yes, of course.
12:15Well, I understand that your niece, Laurita,
12:17is not going to use it anymore.
12:19Maybe I could occupy your table.
12:21If you think it's okay.
12:23Well,
12:25Laurita will continue
12:27with the publicity of the living room,
12:29but the truth is that
12:31I no longer occupy the office.
12:34Look, from now on,
12:36this will be your desk.
12:38So welcome to my office.
12:41Thank you very much.
12:43Well, I'll leave you,
12:45I see you were going out.
12:47Yes, yes, I was going to Mrs. Carla's funeral.
12:49Accompanying her to her mother's is the least I can do
12:51in this tragic moment.
12:53It's a great gesture on your part.
12:55By the way,
12:57I've thought it over better
12:59and I'm going to the inauguration
13:01of the Plaza de las Ventas.
13:03Really?
13:05Yes, yes, yes.
13:07What good news.
13:09Who knows, maybe we'll see each other there
13:11in an hour.
13:13These people are the ones
13:15my nieces and nieces told me about,
13:17encouraging me.
13:19It seems you know human nature very well.
13:22I would like that.
13:32By the way ...
13:34Yes?
13:36Dona,
13:38why don't we go together to the plaza?
13:41Unless I have another companion.
13:43No, I don't have it. I'd be delighted if it were you.
13:46Well, I'll pick it up in a while,
13:49when I come back from the funeral.
13:52Can I leave it in your hands until then?
13:55You don't have to ask. You know I do.
13:57I'm the manager.
13:59Thank you.
14:13SILENCIO
14:30You're such a traitor.
14:31I don't know why I bother to educate you.
14:35Order number nine.
14:37Cleaning the plates and steel covers
14:39isn't your thing, it's the waiter's.
14:41So?
14:42Esperanza, I don't like it at all.
14:44Look, no water for the enemy.
14:46Get away from those covers.
14:48Manolo, I'll put the coffees on number three.
14:53And you should be ashamed of yourself.
14:56Stealing staff from other departments.
14:58What are you talking about?
14:59You're the one stealing.
15:01You're taking my place to put the coffees.
15:03You think you can abuse the newbies,
15:04but you can't abuse me.
15:07Esperanza, nobody's abusing me.
15:09That's what they make you believe.
15:11They say you do them a favour,
15:13and they do you another.
15:14Have you ever seen Cañete with a broom in his hand?
15:16I'd like to have one right now,
15:18to see if you've thrown it away.
15:20Can't you leave me some space for the coffees?
15:21Wait a minute.
15:22Esperanza, Cañete didn't ask me to do anything.
15:24It was my idea.
15:25But look at the waiters.
15:27They're exhausted, the poor ones.
15:29Well, the best thing to do is to do it in the parish.
15:32That way, he'll thank me for all the lessons I've taught you.
15:35And on top of that, he'll get drunk.
15:36He won't want me to pay him to learn his commandments.
15:40Well, he should.
15:41What if he doesn't believe you?
15:43You managed to get a job without even finishing the test month.
15:47Thanks to my teachings and thanks to the amendment.
15:50And I thank you very much, Esperanza.
15:52I'm very grateful.
15:53But I say that I must have had something to do with it, right?
15:55That here, the one who's been nagging
15:57while you were at home,
15:59has been the amendment here.
16:00You little crow.
16:02Have you seen me learn?
16:04With everything I've taught you.
16:05And now you don't want to give me any credit.
16:07Don't get me involved in your affairs, Esperanza.
16:10Will you let me?
16:11Of course I'll get you involved.
16:12Because no one, like you, can understand me.
16:14You also lead your own team.
16:17Let's see, who wins the battle?
16:18The soldier who goes to the trench?
16:21Or the sergeant who goes and says what to do,
16:25how to do it and when to do it?
16:28Ah, since we're here.
16:30When a student takes a test of who is worthy,
16:33of the student who studied or the teacher who taught the lesson.
16:36But they ask me, I came to put two coffees.
16:38Answer at once.
16:40What do I know?
16:41The sergeant is yours, Esperanza,
16:44and the student is yours, Marta.
16:45But then you're not giving us the reason for both, like crazy.
16:48And if you don't give us the reason for both,
16:50you're not giving us any.
16:51Of course.
16:52You know what I'm telling you?
16:53You put the coffees.
16:59And I'll tell you one thing,
17:00it's the last time you take out the colors
17:02in front of another boss.
17:04Because if you don't, you'll spend all afternoon
17:06cleaning the floor of the lab with baking soda and a brush.
17:09Well, Esperanza, that will be another day, because I'm bored.
17:13I'm dying and I'm not educating you.
17:23Come in, honey.
17:24Antonia, I don't know if I'm doing well being here.
17:27Teresa doesn't like that customers
17:28visit the common areas of the classroom.
17:30Teresa, Teresa, you're not just any customer.
17:33Come in, come in, sit down.
17:34Okay.
17:37It's so empty, isn't it?
17:39I thought I'd find all of you here.
17:40Oh, yeah, well, you'll see them later.
17:42It's just that they've all gone to the bookshop.
17:45Miguel is doing a demonstration of stripes and corsets.
17:49Stripes and corsets?
17:50Yes, yes, yes.
17:51In the bookshop?
17:52That's right, and it has to be very interesting
17:54because it's gone to the point of a straw.
17:55I can't believe it.
17:56I swear.
17:58But look, you know what? I do have you for myself.
18:00Oh, you're going to come with me in the meantime.
18:03Very well.
18:10I have a sandwich, do you want some?
18:11No, thanks, Antonia, I've already eaten.
18:13Come on.
18:15Well, then.
18:17Tell me, why did you come?
18:19If I tell you the truth, it's because I miss you a lot.
18:23That's the real reason.
18:25If it hadn't been for this stupid rule
18:27of married women, I wouldn't have quit my job.
18:29You don't know how I understand you.
18:31Perfectly, as well.
18:34But, well, let's hope this changes soon.
18:37I hope so.
18:39Well, how is Marta doing as a cleaner?
18:42You must be very happy to have her here.
18:43Yes, I really am.
18:45She's doing very well, really.
18:48And she's holding up very well, that's another job.
18:52I'm very happy for her, she deserves it.
18:55Yes.
18:56That girl makes herself loved.
18:57Even Clarita missed her when she took her to school.
19:00Marta missed her a lot, too.
19:02By the way, she's about to finish her shift.
19:05Why don't you wait for her and go to Clarita's?
19:08You'll both miss her a lot.
19:09That's a very good idea.
19:12Yes, I'll look for her later.
19:13But eat, please.
19:15The truth is, Antonia,
19:18I've missed these moments a lot.
19:20Hearing the gossip, one and the other.
19:23Any news I should know?
19:27Yes.
19:28Laurita and her friend Celia, the photographer,
19:30will be in charge of the gramophone shop from now on.
19:33Ah.
19:34I knew Laurita was a very entrepreneurial woman.
19:36Yes.
19:38But poor thing.
19:40She won't get her head around what happened to Inés.
19:43Poor thing.
19:45I was going to visit her, but...
19:48I don't know if it's the right time, maybe it's too soon.
19:50I see.
19:52By the way, I heard from Mr. Fermin
19:54that today is Mrs. Carla's funeral.
19:56Oh, Antonia, that's very complicated to tell.
19:59I see.
20:01Honey, I don't want to be indiscreet,
20:03but I've heard from two clients
20:05and they said that the newspapers say
20:08they've arrested a suspect in the crime.
20:12And you thought Iñigo was that suspect, right?
20:17Don't worry, Antonia.
20:18Yes, it's him.
20:20He was the man they arrested.
20:23But they've also released him because he's innocent.
20:26But that's not what the newspapers say.
20:28Of course, because the rumors sell much worse.
20:30Yes, but that's the problem.
20:32When rumors are repeated a lot,
20:35they end up being true in the eyes of others.
20:39I'm afraid they'll start treating Iñigo like a murderer
20:42when he's not.
20:43Of course not.
20:45The truth will come out, you'll see.
20:50I hope so.
20:51I'm glad you came.
20:52Me too.
21:13Mr. Jacob.
21:16It seems you've been alone for a long time.
21:18Maybe I've left the company I was waiting for.
21:21Who says I'm waiting for someone?
21:24Maybe that company
21:26has just met me here.
21:27But for that, I have to wait a bit.
21:30You're right.
21:31I've got ahead of myself.
21:34In any case, do you need me to introduce you to someone?
21:37No, no, no, no, no, no, no, no.
21:38I...
21:40I think I know how to defend myself alone, yes.
21:43Actually, that's not the reason I'm here.
21:46Tell me.
21:49I'm here as a spy.
21:52Are you spying on me?
21:55Yes, and no.
21:58Let's say it's an industrial espionage.
22:02I'm here...
22:04gathering ideas for my new place in Seville.
22:06You know, what the hours are, the most affluent,
22:08how the staff works,
22:10even how you behave with the clientele.
22:13Who would tell me that?
22:15Who would tell me that?
22:17I've taken Don Jacobo as an example.
22:20Well, I'll let you continue spying on me.
22:23If you need anything, I'm here.
22:25Thank you very much.
22:36We have to start this now, Elias.
22:38Don Salvador shows up in this one,
22:39grabs me by the hands, we've already messed it up.
22:42Grab me by the hands, dear bookseller.
22:44Grab me by the hands!
22:45Stop with the chants.
22:46Of course.
22:47A success to the call. Congratulations, Elias.
22:49All this could happen from time to time, but...
22:52To buy books.
22:53Well, where there's a good price,
22:54let's get rid of that scoundrel.
22:56Let's go.
22:59A moment of attention, please.
23:08First of all, thank you very much for coming
23:10to our presentation of La Fajete's products.
23:13It's an honour to have you all here in the bookshop.
23:17In case you didn't know,
23:18all these books you see here are also on sale.
23:21Miguel, stop talking, we're running out of time.
23:24In the end, we won't see a single page.
23:26I'm going, I'm going, I'm going.
23:28I have the products in the other shop,
23:30I'll bring them to you now.
23:32And since you've come to a demonstration,
23:34I've prepared a little surprise for you.
23:37Trini, why don't you try one of those corsets?
23:40In your state, it wouldn't suit you.
23:42How can I put on a corset?
23:44I've come to support Miguel, you know why.
23:48Esperanza, I didn't expect to see you here.
23:51It's going to take a while.
23:52And you, since the wedding is near,
23:54you want to look very handsome, don't you?
23:56Of course.
23:57A moment, please.
23:58While we wait for Miguel,
24:00I, as the head of the sales department,
24:02will go on to gloss over the products.
24:05I'll show you the excellence of the corsets.
24:07Corsets for men and women.
24:09Corsets that anyone can wear,
24:11to make you thinner and more handsome.
24:14Oh, my God.
24:15Laurita has become a true competitor
24:18with this advertising phrase.
24:20Esperanza, I have squirrel ears, I heard it perfectly.
24:23I said it so you could hear me.
24:25Hello.
24:26What are you doing here?
24:27I've been looking for my employees,
24:29and they're here for a literary meeting.
24:31Excuse me, Mrs. Teresa, but we're on break, aren't we?
24:34No, because five minutes have already passed.
24:36Hey, your watch has stopped.
24:38Can you see it? What a strange phenomenon.
24:41And besides, what are you doing?
24:43Aren't you preparing a meeting?
24:45Excuse me, Mrs. Teresa, if you allow me, I...
24:48No, I don't allow you.
24:49Come on, everyone work.
24:50Let them see one by one.
24:52In a row.
24:54One by one.
24:56Come on, go.
24:58And since there is no better way to check the quality
25:00of the Lafajete products than by looking at the stalls...
25:02Tacha.
25:03And I thought you were a serious man.
25:24Has something happened to Inés?
25:26No, Inés is the same.
25:28You don't know how scared I was to see you.
25:30Yeah, Inés is not more serious, but I've come to talk about it.
25:33I know you've broken your relationship.
25:36Well, broken.
25:38Let's say we're giving ourselves some time.
25:40With everything that's happening to Inés right now,
25:42it's not the right time.
25:43I see you've done well to come to talk to you,
25:45because for Inés the relationship is broken.
25:47What Inés needs now is tranquility,
25:49not that no one alters it.
25:51So I beg you to respect her will and don't try to go back to her,
25:53because it won't happen.
25:55Has Inés asked you to come here to tell me this?
25:57No, Inés doesn't know I'm here.
26:00I've come on my own.
26:02Well, then allow me to tell Laurita
26:04that it's a matter that doesn't concern you.
26:06César, what have you done
26:08for my sister to break up with you overnight?
26:10Because I'm not going to insist on Inés,
26:12but I think I deserve an explanation from you.
26:14This is something that only affects your sister and me.
26:17Is it because of something you've done
26:19or your friend from Marseille?
26:23Laurita, please, don't turn around.
26:25I understand you're worried.
26:28Does it have anything to do with the Egyptian cup?
26:30It has nothing to do with it.
26:32But don't worry, your sister will get her life back
26:34and she'll be happy.
26:36And that her happiness depended on you.
26:38Look, I'm leaving, but I hope you leave her in peace.
26:42FRANCE
26:56What bookseller worn a corset, Trinidad?
26:59My God.
27:01But it looked good on her.
27:03How would that look on you, woman?
27:05I don't know, it was a demonstration.
27:07It wasn't a demonstration of being ridiculous,
27:09What was it?
27:11Do you know why Mrs. Lazara called us here?
27:14No, I have no idea.
27:15I suppose she doesn't want to tell me her business.
27:19Mr. Fermin should have chosen you as his manager, not her.
27:23Well, don't make a big deal out of it.
27:25I'm not going to forget so easily that you've missed a few minutes at work...
27:29...to go and look at the cards.
27:31Sorry.
27:32They're here.
27:34Yes, Mrs. Lazara, here we are.
27:36The cards you asked for, at the time you asked for them.
27:40Thank you very much, Teresa.
27:42What I'm going to tell you next is something I prefer to do like this...
27:46...with small groups, to be able to answer all your questions and doubts.
27:51Well, you will be the first.
27:54My God, I'm so scared. Is it something serious?
27:57No, no, no, no, no.
27:58What we are going to deal with is something very beneficial for the salon...
28:01...and, therefore, for us.
28:04I've been doing a profitability study and I've discovered something amazing.
28:10With very little that we put on our part, we can double the weekly profits.
28:17Double the profits?
28:19But, I mean, we're raising prices like crazy.
28:23Well, almost, almost, Trinidad.
28:25What I want is for you to double your weekly sales.
28:29Monday?
28:45How good it feels to have the job done and all afternoon to go for a walk.
28:49Thank you for inviting me, Matilde.
28:51Going to look for Clarita at school today was the best thing I could do.
28:55The boats you took in the square?
28:56That was the best thing.
28:58The delicious walk, the boats too.
29:01But now that we're at home, miss, I'd like to talk to you very seriously.
29:07As good as I was this afternoon.
29:10What did your teacher tell me when I went to pick you up?
29:13Well, if you don't know, she told you.
29:18Hey, Clarita, be careful how you talk to me.
29:21Hey, Clarita, be careful how you talk to me.
29:26Your teacher complains about the behavior you're having these days.
29:30And she even told me about your bad grades.
29:32You had it very quiet, by the way.
29:34You don't believe everything she says.
29:36She's got me.
29:37Clarita, she taught me the exams.
29:39And there are several suspended, many, in fact.
29:41The lessons were a mess.
29:44Clarita, I need you to change your attitude.
29:46Clarita, with how good a student you've always been.
29:49So smart, so obedient and so responsible.
29:52And what good is it to me?
29:54What good is it to me to be obedient and responsible?
29:58Of nothing.
30:00Nobody listens to me, nobody listens to me.
30:02Hey, that's not true.
30:04You can talk to me whenever you want.
30:07With you.
30:09Look, Matilde, don't be a liar.
30:11If you don't listen to me.
30:13Clarita, don't go to your sister like that.
30:14Don't go to your sister like that.
30:16I go to her however I want.
30:18Hey, Clarita.
30:24Do you want me to go talk to her?
30:26No, it doesn't matter.
30:28It doesn't matter, it will pass.
30:30I'm sorry, Marta.
30:32I invite you for a walk and you find yourself with this.
30:35Don't worry.
30:37They are little girl rabbits.
30:39I don't think so.
30:40I thought that everything about the move,
30:42about coming to live with Íñigo,
30:44had passed and it has gone worse.
30:46You don't know how ashamed I have been with the teacher.
30:49The grades were so bad.
30:51Not because of that,
30:53but because of the behavior she is having now.
30:57Patience, Matilde.
30:59Patience and decision.
31:01Because I don't know about anything else,
31:03but about the kids, yes.
31:05They all went through my hands.
31:07My people.
31:08And the kids need you to take care of them,
31:11but they also need you to put limits on them.
31:14Of course.
31:16What Clarita needs now are limits.
31:19If you need help, I'm here.
31:23Thank you, Marta.
31:25It's very easy to understand.
31:27I want them to do more sales
31:29and to make more money per sale.
31:34But how do you expect the dependents to do that?
31:36Simple.
31:38While they are preparing the client's order,
31:40you tell them about the excellence of other products
31:43and encourage them to buy them.
31:47I'm sorry, Mrs. Lázara,
31:49but this proposal goes against a rule
31:51that we have here in the salon.
31:53We can't talk to the clients more than necessary.
31:57That's right.
31:59In the modern world, we talk about what's fair to the clients.
32:02The clientele doesn't come here to leave with us.
32:05Rules are useless.
32:07Unnecessary.
32:09I totally agree with you on that.
32:11But if we adjust one enough
32:15to help us with profitability,
32:17the change will benefit us all.
32:21Yes, but profitability isn't everything.
32:24If the modern world stands out for something,
32:26it's for the good treatment of its employees.
32:28And for their elegance, too.
32:30Yes, it's about elegance and knowing how to be there.
32:32And I'm not asking you to stop doing it.
32:34What I'm asking is that while you're working,
32:37you recommend other products to the clients
32:40and, if possible, the most expensive ones.
32:46Can you tell me why there's so much silence?
32:49Don't you think that the products in this salon
32:52are of the highest quality?
32:55Yes or no?
32:57Yes, yes.
32:59Well, then be aware,
33:01because you're not fooling anyone.
33:02You're just helping them to consume more.
33:06I'm sorry, Mrs. Lazara, but I think that...
33:09I suppose that what you think
33:11is based on old-fashioned criteria.
33:14And since I'm here,
33:16I'd like to tell you all
33:18that in case you need me,
33:20you can look for me in Mr. Fermin's office.
33:23I'll occupy the table next to you.
33:27That's all. You may leave.
33:30And remember that I want to see
33:32if the sales are increasing.
33:35One moment, Teresa.
33:46You tell me.
33:48I need you to be in charge of La Moderna this afternoon.
33:51Mr. Fermin and I will go together
33:53to the inauguration of the Plaza de Todos.
33:56He looks capable enough to stay alone.
34:02I'm sorry.
34:09Dear Inés,
34:11I'm writing these letters to inform you
34:13of what I'm going to do next.
34:15Something I'm doing for me,
34:17but above all for you.
34:19For us.
34:21Through the embassy,
34:23I've contacted the French Gendarmerie
34:25and I'm going to give them all the evidence
34:27I have against Marcel and the clan he works for.
34:29The Marseillaise clan.
34:30To do this,
34:32I only ask that they release me from prison
34:34so I can finally go to America.
34:37Our dream.
34:39Remember?
34:41I don't want to pressure you,
34:43but I hope you still want to come with me.
34:45This is the only way I've found
34:47to make sure you don't get hurt again.
34:50But if you don't want to know anything else about me,
34:52I'll understand.
34:54And I won't bother you again,
34:56even if you're what I love most in this world.
34:58This will be my farewell gift.
35:03I just hope that one day
35:05you can forgive me for all the harm I've caused you.
35:08With all my love,
35:10Cesar.
35:11I love you.
35:25So, I go out with the corset on
35:28thinking that you would be there,
35:30that you knew where you were coming from.
35:32And I go, tachán,
35:34like showing the eighth wonder of the world.
35:36Well, for Teresa it would be the eighth, the ninth,
35:38or the tenth wonder.
35:39With the arms like this and the corset on the body.
35:41Teresa must have thought
35:43that she had become a coupletist.
35:45Yes, laughing is laughing,
35:47but I didn't have a good time, really.
35:49My goodness, so much trouble to organize the demonstration
35:51and not a single strip I sold.
35:53Besides, I think I gave up the corset
35:55because I won't be able to sell it.
35:57Will I have to pay for it?
35:59Well, there you have your first sale, Miguel.
36:01Well, love, let's see,
36:03you're always in time to do another demonstration.
36:05That's what commercials do, right?
36:07Of course, in the bookstore, not to mention
36:09that you have me to cheer you up, friend.
36:11And you too, Trini.
36:13I brought you a gift.
36:15The gift is that you are going to leave us alone
36:17to enjoy the night alone.
36:20I have the gift out there
36:22because I couldn't put it in
36:24without you seeing it ahead of time.
36:26I'm going for it.
36:28Won't it be your grandmother's portrait?
36:30Of course.
36:36No.
36:37No.
36:39Oh!
36:41A wicker bolster!
36:43But...
36:45And a sunshade!
36:47Yes!
36:49The first two gifts the baby has
36:51because you haven't received any others, have you?
36:53What else is he going to get
36:55if you're the only one who knows?
36:57Well, then it's clear.
36:59You'll name him Godfather.
37:01Well, and if the baby is a boy,
37:03I'll give him my name.
37:05Francisco Ruiz Fernandez.
37:07Or Paquito.
37:09Or Curro.
37:11Or Kiko.
37:13Or Frasco.
37:15Or Frasquito.
37:17Miguel, don't get like that.
37:19If you want, you can name him Miguel II and that's it.
37:21But I imagined it and...
37:23Well, I got excited.
37:25Sorry.
37:27I didn't know you two were so sensitive about this.
37:29You're a great friend.
37:31Well, I'm going to get some liquor
37:33so we can cheer up the father.
37:35Sorry.
37:37Don't you think it's time
37:39for Trini to stop working?
37:41Because she eats more and more
37:43and she's starting to notice the pregnancy.
37:45And that living room is full of women
37:47who don't care about anything.
37:49And yet you're the only one who knows.
37:51For a short time, Miguel.
37:53You have to convince her.
37:55I tried yesterday, but she didn't listen to me.
37:57Well, it's just that our genes don't work.
37:59Cañete, you know my mother worked
38:01until the day she gave birth to me.
38:03And also, literally,
38:05because she was in front of the fireplace
38:07when she gave birth to me.
38:09She shouldn't be working.
38:11I imagined it and...
38:13The poor man and...
38:15But...
38:22I know it's not time,
38:24but there was no other time
38:26to meet with my accountant.
38:28You see, that's how demanding
38:30the life of a businessman is.
38:32Well, you accompany the bulls
38:34and I'll accompany you back to the office.
38:35I hope I haven't disappointed you.
38:37No, no, on the contrary.
38:39I've learned a lot from you.
38:42Thank you very much,
38:44but I was referring to the square.
38:46Oh, sorry.
38:48No, there were things to sort out.
38:50I have the feeling
38:52that you rushed the inauguration.
38:54Well, I don't know.
38:56The truth is that I'm not as...
38:58as understood as you.
39:00I thought the square was a dream,
39:02so big and with those beautiful arches.
39:05You can say that again.
39:07Do you know how much that bull has cost?
39:10No more, no less
39:12than 12 million pesetas.
39:15Shut up, shut up, for God's sake.
39:17I get dizzy just thinking about that amount.
39:19What impressed me
39:21was Diego Fortuna's work.
39:23He had the responsibility
39:25to deal with the first bull
39:27in the history of sales
39:29and his pulse has never shaken.
39:31And what was that?
39:33A bull from the cattle ranch of the Domecques.
39:35It never ceases to amaze me
39:37with your knowledge, Mrs. Lázara.
39:39I would never have thought of you.
39:41Well, it's true that I like bullfighting,
39:44but I'm learning a lot from you.
39:47You know so many details
39:49and so much about bullfighting.
39:51Thank you very much for insisting
39:53that it was at the inauguration.
39:55I would never have forgiven myself
39:58for not being present
40:00in this historical event.
40:02I am the one who is grateful.
40:03It is a pleasure to spend time with you.
40:05It is a pleasure to be here
40:07in this office working,
40:09but today in the square
40:13it has been a perfect afternoon, Don Fermín.
40:20Clarita has just eaten
40:22and you have seen the answers she has given me.
40:25Why didn't you listen to them before?
40:28Don't you think you're worrying too much?
40:30Look, Clarita is at an age of change
40:33and if you add to that
40:35everything that has happened to her,
40:37whether she becomes an orphan,
40:39her brothers live far away, the accident ...
40:41It's just a lot of things.
40:43Yeah, but even the teacher
40:45has drawn my attention.
40:47I don't know.
40:49I hope you're right.
40:54Let's trust.
40:57Oh, by the way,
40:58before I forget,
41:00what do you know about Inés?
41:02Well, at the moment
41:04we don't know the extent of her injury,
41:06but in the meantime
41:08I have asked Jacob to help me
41:10investigate what is happening
41:12in Madrid-Cabaret.
41:14And that?
41:16Do you think something is happening
41:18behind your back?
41:20I'm afraid César is hiding something from me.
41:22I'm not sure, but
41:24maybe it's all that's going on
41:25that's making me paranoid.
41:27No, it's not paranoia,
41:29it's being attentive.
41:31You're doing well.
41:33You don't know how lucky I am
41:35to be talking to you.
41:37You always understand me
41:39and we're in the same tune.
41:44I see you don't regret
41:46marrying me.
41:49It's the best thing I've done in my life.
41:51You make me very happy.
41:55And you make me happy.
42:00Inigo Peñalver, open the door.
42:02We know you're at home.
42:13Inspector, come in, please.
42:16Here's the registration form
42:18and the judge's request.
42:20Start the registration.
42:22You know what to look for.
42:25Thank you.
42:35I don't want to bother you anymore.
42:37The accountant is about to arrive
42:39and you're running late.
42:41Excuse me, I'd like to walk you home,
42:43but I have to...
42:45No, please.
42:47Don't worry.
42:49I'll let you work.
42:51Yes.
42:52I'm ashamed to say this,
42:54but I don't know if you know
42:56that when I was working
42:58in the Madrid-Paris warehouses,
43:00I was in charge
43:02of recommending the jewels
43:04to Maestro Belmonte's wife,
43:06Mrs. Julia.
43:08Wow, you're a box of surprises.
43:11I've really enjoyed spending
43:13a few hours with you
43:15outside this room.
43:17I agree, Inigo.
43:19We spent many hours here
43:20and I don't know,
43:22I think this afternoon
43:24I've gotten to know you better.
43:26Well, I hope what you've discovered
43:28doesn't disappoint you.
43:30Don Fermin,
43:32you could never disappoint
43:34any woman.
43:36Never.
43:38Excuse me,
43:40I've talked too much.
43:42No, don't worry.
43:44The good always lasts a little.
43:46Have a good night, Don Fermin.
43:48Good night.
43:51Good night.
44:03I know it's the dress
44:05of my first wedding,
44:07of Ramón's wedding,
44:09but I think the important thing
44:11is what one feels,
44:13not what one wears.
44:15And well, I also think
44:17that we'll save a lot of money
44:18and it won't hurt us.
44:21Antonia, can I come in?
44:23Yes, come in, it's open.
44:26Hi, honey.
44:28Hi.
44:30Marta and I have already had dinner,
44:32but I've left your dinner here.
44:34Sit down, please.
44:36Thank you.
44:38I wanted to talk to you
44:40about the preparations
44:42we have left for the wedding.
44:44Well, we still have to agree
44:46where we're going to do the invitation,
44:48where we're going to put our costumes.
44:50I guess you'll wear
44:52the Sunday costume,
44:54which looks great on you,
44:56and it would be good
44:58if Marta saw it
45:00in case we have to make some adjustments.
45:02And as for my costume,
45:04what's wrong?
45:08It's just that
45:10about the wedding dress,
45:12it's getting complicated.
45:14What do you mean?
45:16What do you mean?
45:18There's someone else
45:20who wants the transfer.
45:22And he'll have to settle it with a bid.
45:24A bid?
45:26If he makes the best offer,
45:28he'll keep it.
45:30We have to raise our offer, Antonia.
45:33Raise how much?
45:35How much are we talking about?
45:37As much as we can.
45:39Everything.
45:41Because, of course,
45:43if he puts more, he'll take it.
45:45All our money?
45:46But, Pietro,
45:48maybe we have to think about it
45:50because he's in that street,
45:52in the bakery,
45:54but maybe it's not a good deal, right?
45:56I have no doubt about this, Antonia,
45:58but with a bid like that,
46:00is it all or nothing?
46:02Well, it's a little bit of vertigo,
46:04to be honest.
46:06I'm sorry,
46:08but I had to tell you.
46:10Yes, of course.
46:12I didn't want to give you a bad night.
46:13We'll talk about it tomorrow, okay?
46:15Yes.
46:17What were you telling me about the suits?
46:19No, nothing, nothing.
46:23Eat quietly.
46:29Thank you.
46:33Are they going to take Inigo back to the dungeon?
46:36No.
46:38Of course not.
46:40Hey, Clarita, why don't you go to bed and go to bed?
46:41And now I'll tell you, okay?
46:43Come on.
46:46Come on.
46:58Can you tell me what this mess is about?
47:01They've woken up my little sister again.
47:03I'm sorry, ma'am, but it's the usual procedure.
47:06At this time?
47:08They come to my house.
47:09It's all explained in the order.
47:11If it's okay to read it ...
47:13Inspector, I owe you an explanation.
47:15Very well.
47:17Maybe I didn't expect it, Mr. Peñalver,
47:19but the investigation has taken an unexpected turn.
47:22Looking at the area where the corpse of the widow of Morcuende was found,
47:26a button was found.
47:28The button of a jacket, exactly.
47:30Does it ring a bell?
47:40Are they really looking for that in my house?
47:43A jacket that lacks a button, indeed.
47:46And they still consider me suspicious of Carla's murder, right?
47:50Don't worry.
47:52If you're innocent, we won't find anything in this record.
47:55But I'm very afraid that ...
47:58Is this jacket yours?
48:01Well, of course it's mine.
48:03Well, there's a button missing here.
48:05Do you see it?
48:09Yes.
48:16I'm sorry to tell you that the button found in the river
48:19is exactly the same as the others in the jacket.
48:22I think you're going to have to give me many explanations.
48:25But many explanations.
48:27Yes.
48:37Yes, yes, tell me, inspector.
48:42What?
48:44How is it possible?
48:46We must be prepared.
48:48The police can show up at any moment and arrest me.
48:51No, that's not going to happen.
48:55You should talk to him.
48:57How can I do that?
48:59If I talk to him, I would be betraying Antonia,
49:01which is even worse.
49:03Go home, Pietro.
49:05Wait until you have the transfer of the bakery well secured.
49:08And in the meantime?
49:10How do I look him in the eye?
49:12I'm out of breath, my love.
49:14Come on, take the pasta, or I'll eat it.
49:16But if I don't say it for me, I say it for you.
49:19Can't you hold my hand?
49:21Why don't you quit the job now?
49:23I'm also leaving for the modern world, Fermín.
49:25What are you saying?
49:27You and I are going to open a bakery.
49:29We have to try not to let Pietro go.
49:31We have to convince him, no matter what.
49:33And I'm not telling you to do it.
49:35Let me do it.
49:37Let me try, we have nothing to lose.
49:39How is your first week as a cashier?
49:41Well, getting to work little by little, yes.
49:44Well, I'm Agustín.
49:46Laura.
49:48Although everyone calls me Laurita.
49:50I mean, we have to schedule the exact time for each client.
49:52Like all changes and innovations,
49:54this is going to generate some resistance.
49:55But nothing happens.
49:57It's normal, natural,
49:59and to a certain extent, desirable.
50:01But, well, this woman, I don't know what she's thinking.
50:03This is an elegant place.
50:05And you can't rush the clients like that.
50:07Listen, we're not going to listen to her.
50:10Is the director of La Gaceta a friend of yours?
50:12Call him.
50:14Call him for what?
50:16What do you mean, for what, Fabio?
50:18For him to publish about Íñigo?
50:20Hey, are you okay?
50:22I am.
50:23I don't think so.
50:25I already know you.
50:27What's wrong with you?
50:29You can tell me, woman.
50:31What confidence.
50:33I don't like the tone he's talking to me in.
50:35I've already told him I'm here for a business interest.
50:37Nothing more.
50:39But so much suspicion, I'm starting to get a little suspicious.
50:41He's going to laugh,
50:43but the matter of Antonia and Pietro,
50:45which has moved me a little,
50:47I don't know,
50:49I found it very nice,
50:50I think I'm going to be his future wife.
50:52Yeah, I don't know.
50:54I was talking to the waiters.
50:56Really?
50:58Yes, and they told me one of them left one day for another,
51:01without notifying me.
51:03A little strange, isn't it?
51:05Well, the police should be informed a little more.
51:07Or maybe they don't know that most men's jackets have the same button.
51:11Really?
51:13And how do you know?
51:15Come on, I didn't sew buttons
51:17when I was working with your aunt with Chitán in the workshop.
51:18I've come to ask you
51:21not to get close to my niece again.
51:24I, Inés Laquiro, control my soul.
51:26I would never have wanted to hurt her.
51:28Whether you want to or not, it doesn't matter.
51:30You bring her problems.
51:33So stay away from her.