Salón de té La Moderna - Ep 188
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TVTranscript
00:00Thank you very much. Thank you, Inspector. Goodbye.
00:09What have they told you?
00:11They have found a proof that incriminates Iñigo.
00:14A proof? What have they found?
00:17A button of his jacket, next to the river. In the same place where they threw the body into the water.
00:24And are you sure it's Iñigo's?
00:25What about Iñigo?
00:27When they checked his house, they saw that one of his jackets was missing a button.
00:31A button identical to the one found next to the river.
00:34I knew it. I knew it.
00:37That German, that murderer.
00:40Has he already been taken to prison?
00:42Jiménez says he prefers to wait.
00:45He does not want to take a false step and that Iñigo's lawyers throw his instruction on the ground.
00:50They will stop him. I'm sure.
00:53The guilt is engraved on his face.
00:58That criminal has to end up in prison.
01:01Only then will justice be done to my daughter.
01:23Honey.
01:32Honey, do you want more coffee?
01:36Do you want more coffee?
01:38Yes, I would be fine.
01:42You slept badly.
01:44Well, to have slept badly, I would have to have slept something.
01:49Honey.
01:51You should not worry.
01:54How am I not going to worry?
01:56The police consider me suspect number one in the murder of Carla.
02:01Yes, but that button is an absurd coincidence.
02:04Anyone with two fingers in front knows that you have nothing to do with Carla's death.
02:08I know, my love, and that's what worries me.
02:10That being so clear that I am innocent, these absurd coincidences appear.
02:15Which for me are neither absurd nor coincidences.
02:19All this is a meticulously calculated plan.
02:23Do you think Mrs. Bárbara planted that button there?
02:27If she didn't do it in person, I'm sure she's behind all this.
02:33But love, she can manipulate everything she wants.
02:36She can stain your name with anything she wants.
02:38But in the end, the truth will come to light.
02:39Or not.
02:41Because if they judge me and condemn me,
02:45I will not be the first or the second to be left with the bones in prison if I am innocent.
02:50Let's see.
02:52No one is condemned for the button of a cap.
02:54I know, my love.
02:59But seeing how the events are developing,
03:04any proof that points me out puts me in trouble.
03:06And that makes life difficult for us.
03:09Let's think.
03:11Where could you have lost the button of that jacket?
03:17Maybe I lost it in the Madrid-Cabaret.
03:20On the street.
03:22Or at home.
03:24And maybe it shows up.
03:26My love.
03:29We must be prepared.
03:31The police can show up at any moment and arrest me.
03:34No.
03:36That's not going to happen.
03:48Here.
03:50Thank you.
03:52Are you feeling better?
03:54I feel like a cat scratching me from the inside.
03:57Try not to talk much.
03:59Yes, I will try.
04:00Yes, I will try.
04:03What you have to do is take three infusions of oregano a day and do a lot of charges.
04:07And you will see that everything happens.
04:09In the end, things always happen.
04:11And you will regain your voice.
04:14Yes.
04:16The voice.
04:18Maybe the voice, yes.
04:20Are you thinking about Cesar?
04:22It's just that...
04:24It's just that three days ago,
04:26my life was perfect.
04:27Perfect.
04:29I was going to be the star of an opera.
04:32I was in love.
04:35And suddenly I lose everything.
04:37No.
04:39Everything, no.
04:41It has been the other way around, but the water will return to its source and you will sing again.
04:45I don't know, I'm not so sure, Laurita.
04:48Yes, what you have to do is take care of your throat.
04:51And regarding Cesar,
04:53you have not lost his love.
04:55You have only broken the relationship.
04:58Inés.
05:00Can you tell me why you broke up with him?
05:04I don't want to talk about that, Laurita.
05:08I have to apologize to you.
05:11I'm going to talk to him.
05:13Since you don't want to tell me the reason, I asked him why you were so good.
05:18And what did he tell you?
05:21Nothing.
05:23He didn't tell me anything.
05:24Nothing?
05:26He didn't tell you anything?
05:28Do you forgive me?
05:30Yes.
05:32Yes, I forgive you.
05:34But...
05:36Laurita, I don't want to talk about that, please.
05:39Because it hurts me.
05:41It's okay, it's okay.
05:42It's okay.
05:51Yesterday I met your singing teacher.
05:55I wonder why you hadn't gone and I told her what had happened.
05:59She says she wants to see you.
06:01What do I tell her?
06:03That no, no.
06:05I don't want to see anyone who reminds me of the music or the stages.
06:08I don't want them to remind me that I'm not going to sing again, Laurita, please.
06:12Well, the doctors will have to tell you that.
06:14Yes.
06:17I'm going to sleep now.
06:19Don't think about anything.
06:21It's okay.
06:38I'm going to sleep now.
07:02What's wrong?
07:04We thought it was the police.
07:05Oh, sorry, I didn't want to scare you.
07:08Come in, come in.
07:10Thank you.
07:12I received the message and I came immediately.
07:15Let's see.
07:17What nonsense is that button on the jacket?
07:19Well, you see, apparently it can be enough to incriminate me.
07:24Do you want a coffee?
07:26Well, I didn't want to interrupt.
07:28No, if it's not a nuisance.
07:30All I have to do is go.
07:32I'll be back soon.
07:34I'll be here.
07:37Sit down.
07:42And what does your lawyer say about all this?
07:45Well, he's worried.
07:48He says that all this about the button is ridiculous.
07:52Impossible to defend.
07:55The police are obsessed with that.
07:58But hey, tell me.
08:00Have you been able to go to Madrid Cabaret?
08:02Yes, yes, I was there and well ...
08:04I just talked to César.
08:06I was watching him and the truth is that I didn't see anything strange.
08:10But did you see him talking to anyone other than the staff?
08:13Let's see, he crossed four words with a client, but nothing else.
08:17Well, it's true that he was talking to Inés' sister.
08:20They looked a little tense,
08:22but I don't know what they were talking about.
08:24But hey, the thing is that tonight I will come back and I will check to see the waiters.
08:28Thank you very much.
08:31And seeing your good disposition, I would like to ask you another favor.
08:36Whatever you need.
08:38Look, I would like to comment on the particularities of Madrid Cabaret.
08:42Given what I have seen, I could go to jail at any time
08:46and I would be calmer if someone like you is in charge of the paperwork of the place.
08:50Please.
08:52Both you and I know the station where I am.
08:55And if I go to jail, I will spend a long period of time.
09:02Will you help me?
09:09Well, I don't know, Pietro.
09:11There will be those who say that the cleaner is less than dependent,
09:14but I am very happy.
09:15There will be those who say that the cleaner is less than dependent,
09:18but I am very happy.
09:21If I had been told a few months ago, I wouldn't have believed it.
09:25That I was going to be here again working at La Moderna.
09:29It's all a dream.
09:31And all thanks to you.
09:36Hey Pietro, is something wrong?
09:38Oh, I'm sorry I'm bothering you here with my rags and my things.
09:42No, no, no, don't worry.
09:45It's just that I'm thinking about Don Fermin.
09:48What's going on with Don Fermin?
09:50The thing is that Antonio and I are going to leave him at La Estacada, right?
09:54Estacada.
09:55What?
09:56It's said to be left at La Estacada, Pietro.
09:58Ah, yes. We are going to leave him at La Estacada.
10:01We leave.
10:03And Don Fermin is left without a baker and without a maid.
10:06And he doesn't know.
10:07No, of course he doesn't know.
10:09But he will know when you have everything tied up and well tied up.
10:12Yes, but Marta, Don Fermin is wasting precious time.
10:16He could be looking for a replacement now.
10:19Well, he will find it.
10:21If ...
10:23Come on, I'm not going to be short of a choice.
10:26What baker wouldn't like to work here?
10:29Yes, but I'm betraying him.
10:33I should talk to him.
10:34No, Pietro, you can't do that.
10:36If you talk to him, you would be betraying Antonia.
10:38That's even worse.
10:39Look, Don Fermin is a man of possibilities.
10:43And Antonia and you are two workers who live from their days.
10:48Back home, Pietro.
10:50Wait until you have the transfer of the bakery well insured.
10:54And in the meantime, how do I look him in the eyes?
10:58Well, I didn't look at him.
11:00You look ...
11:02to the oven.
11:03What's up with the oven?
11:05Don Fermin.
11:06Marta, please.
11:07Don Fermin.
11:08Marta, please.
11:09Can you go clean the table in my office?
11:11I don't know how many times it has happened to me.
11:13I start stirring papers,
11:14I forget that the cup of coffee is on the table,
11:17a tap and all lost coffee.
11:20Right now, Don Fermin.
11:21Please, let's see if we can save any of the documents.
11:24Thank you.
11:31How are the preparations for the wedding, Dio?
11:35Come on, Don Fermin.
11:38Well, you're upset with me because I don't give my arm to twist, right?
11:44The rules and traditions are important.
11:47In this house, Pietro, a married woman has never, never worked.
11:52It's not something personal, understand it, but don't get mad at me, please.
11:57I'm not angry, Don Fermin.
11:59No.
12:01But I have something to tell you.
12:04Say it.
12:07I'm also leaving La Moderna, Don Fermin.
12:09What are you saying?
12:12Yes, I'm sorry, but Antoine and I are going to open a bakery.
12:18Are you telling me that you're leaving the salon to open your own business?
12:24Yes, Don Fermin, it's just that if Antoine leaves and I'm still here...
12:30Of course.
12:32They will still be separated and they will only see each other for dinner.
12:39And that worries me.
12:41I want to be with her and I'm in love, Don Fermin.
12:45I'm sorry.
12:47And I think you can understand it, right?
12:49Of course I understand it, Pietro.
12:51How can I not understand it?
12:52Of course, you're killing me.
12:56Because where am I going to find a baker with the magic you put on sweets?
13:02I would help you find another baker, Don Fermin, don't worry.
13:06The transfer is not yet signed.
13:08No, no, you don't worry about that.
13:11You worry about your Antonia.
13:16How lucky that woman is.
13:18How lucky that woman is.
13:22And you, bitch.
13:37Here you go.
13:39Come on, I didn't ask for anything.
13:41I've seen the must-have and I need you to put it on.
13:43Come on.
13:44What?
13:45Come on, quick.
13:47What do you know how to put on a must-have?
13:50I don't see this logical, Trinidad.
13:52Don't call me Trinidad, I can't stand it.
13:54And you know it.
13:55And come on, do it quickly.
13:56Before Teresa goes out to the gallery.
13:57Come on, come on.
13:58My mother, yesterday I was in a corset and today you with the uniform open.
14:01What's wrong with us?
14:02Ouch, ouch.
14:03What's wrong with you?
14:04Don't you touch me.
14:05You've pinched me.
14:06Don't move.
14:07Let's see.
14:08Put your guts in.
14:13That's it.
14:15This is a lifeless, my love.
14:16Come on, take the pasta, or I'll eat it.
14:19Let's go.
14:20But if I don't say it for me, I say it for you.
14:22Can't you hold my hand?
14:24Why don't you quit the job now?
14:25Don't you see it's too much load in your state?
14:27I'm pregnant, not mutilated.
14:28And besides, I can do this and much more.
14:30Yes, but think of the child you're carrying in your belly.
14:32Well, that's what I'm doing.
14:33Think of the child.
14:34I say she'll have to get dressed, she'll have to eat, right?
14:37And as far as I know, unfortunately, most of the money that comes home is thanks to me.
14:41Well, from now on, I'll take care of that.
14:44The truth is that with this business, I'm starting to earn money.
14:47People are obsessed with hiding the meat.
14:49By the way, don't wait for me for dinner, because today I have a demonstration at the last hour of the afternoon.
14:53Well, okay.
14:54Well, if you get home and don't find food, I'm very sorry.
14:56It's just that lately I've been eating and I haven't stopped.
14:58Well, you eat what you have to eat and put on weight what you have to put on weight,
15:01because you feel wonderful.
15:02And please, think about what I've told you.
15:04Trust me.
15:05Well, okay.
15:07But don't be too late.
15:15Don Fermín?
15:17Come in and sit down, please.
15:23I'm sorry for the delay, but the matter is urgent and serious, so I'm not going for a walk.
15:31We need a cake.
15:33Pietro Fazzillo leaves La Moderna.
15:36Oh, is there a problem with your son again?
15:38No, it has nothing to do with your son.
15:40It has to do with Antonia.
15:41No, it has nothing to do with your son.
15:43It has to do with Antonia, and specifically with her next marriage.
15:48I suppose both are aware.
15:50Yes, yes, of course.
15:52At least I, you don't know.
15:54Of course I knew.
15:56I'm the manager of this place and I'm aware of everything.
15:59Although I must say that not thanks to you.
16:02I don't like to be hidden information.
16:04I haven't hidden anything from you.
16:06This is a private matter of the boyfriends and it is the boyfriends who have to communicate it when they consider it.
16:11Well, let's not deviate from the point.
16:13The important thing here is that we need a new baker.
16:17Well, and a new maid.
16:19If Antonia marries, she will also leave the position free.
16:21Yes, yes, well, you are a new maid.
16:23But the worker is the heart and lungs of La Moderna.
16:27So let's focus on that.
16:29Find a new baker.
16:31The maid is important but not vital.
16:34Look, Mr. Fermin, it occurs to me that we can make a beat for the best places in the capital.
16:40And with a little luck, we kill two birds with one stone.
16:43We get a baker and, incidentally, we steal him from the competition.
16:48That would be funny, really.
16:51As soon as the voice is heard, everyone will want to work here because we are the best place in Madrid.
16:58Of course we are.
17:00That's why I don't understand how someone is able to leave a job like that.
17:03You, Pietro, have not been given any kind of explanation?
17:06Yes, they have given me, yes.
17:08He is going to set up his own business.
17:11Of course, Antonia, when she gets married, will leave and he does not want to be all day without seeing her.
17:16So they are going to open a business together to be able to spend more hours with each other.
17:22He speaks for a reason.
17:24He speaks for them, but they leave us precarious.
17:27Don't you think, Mr. Fermin, that it is a strategy of Pietro to raise your salary?
17:32No, no, no, no. Pietro would never do something like that.
17:35If he wanted an increase in salary, he would ask me directly.
17:38Excuse me for insisting, Mr. Fermin, but if this serious and urgent problem that we have was solved by raising Pietro's salary, let's say 20%, would you agree with that?
17:50Naturally. But it is not a pecuniary matter, Mrs. Lázara.
17:54Pietro has told me about his decision as a matter of fact, he was not negotiating.
17:58I don't know, offering him money after he has made it clear that he does it to spend time with his wife, well, I don't know, it doesn't seem delicate to me.
18:05Exactly, and I'm not going to do something like that.
18:08Of course, of course not, it is understandable.
18:11Anyway, as far as what Teresa says, running the voice that we need a baker, I think that is delicate.
18:22And in what sense?
18:24Well, Mr. Fermin has said it very well, the worker is the heart and lungs of this business.
18:30Are we really going to air out that they don't work?
18:33Do you think that can affect the reputation of La Moderna?
18:37Look, what I think is that we have to try not to let Pietro go, we have to convince him anyway, and I'm not telling you to do it.
18:45Let me do it, let me try, we have nothing to lose.
18:52La Moderna.
19:09Well, we have already emptied another store.
19:12My goodness, the one with Morraya that that lady had in there.
19:15There will have to be a painting hand, huh?
19:17Yes, but I understand that painters' paintings charge an eye for the face, Celia.
19:22But what paintings? We paint that ourselves.
19:25We? But that's a man thing, right?
19:30Of men? Everything a man can do, a woman can do it.
19:36Okay, so we would only have to pay for the painting.
19:39That's it.
19:40Well, let's not resort to a man for something we can do ourselves.
19:43I like it that way.
19:45Come on, look, this has to be my friend, the one in the truck. Finally.
19:56Hello.
19:57Hi, I haven't seen you.
20:00How is your first week as a cashier?
20:03Well, getting to work little by little, yes.
20:08Do you work here?
20:10Yes, yes, I have rented the place with a friend.
20:13Ah, well, very good.
20:15Well, I'm Agustín.
20:17Laura, although everyone calls me Laurita.
20:20What envy, right? To be able to work in a gramophone store like that.
20:25To be able to be listening to music all day.
20:27Well, you can be watching movies all day and repeat them as many times as you want.
20:32You did it with envy, right?
20:34Do you like making movies?
20:35Well, who doesn't like it?
20:37Well, let's do one thing.
20:39If you come whenever you want, and it's just you and me, it's free.
20:43Thank you very much. I can give you a discount on the records.
20:48Well, we've already made a deal.
20:52I think I have to go now.
20:53Of course, have a good day.
20:55See you soon, Laurita.
21:10The objective is very clear, gentlemen.
21:12Sell more products.
21:14This is a business and not the convent of the soup.
21:17Customers come here to spend the money.
21:20What is that? That a lady spends all afternoon here just with a cup of tea?
21:24Well, then what do we do? Do we kick her out?
21:26Don't interrupt, Elias.
21:27Well, let's give a practical example so that we can understand each other.
21:31Let's say that a woman comes here every day,
21:34Don't interrupt, Elias.
21:35Well, let's give a practical example so that we can understand each other.
21:38Let's say that a man comes here in the middle of the morning,
21:41drinks a coffee and reads the newspaper.
21:44Well, that man couldn't be here for more than 40 minutes.
21:49Well, then after 40 minutes, we kick him out.
21:51Come on, don't interrupt.
21:53After 40 minutes, you approach him and say,
21:57May I?
21:58You take the cup of coffee away from him.
22:00And then you ask him,
22:02Does the man want to drink something else?
22:04And if he says no, what do I do? Do I kick him out?
22:07Do you want to let him talk?
22:09If he doesn't want anything else, you ask him.
22:13Does the man want me to bring him the bill?
22:15Well, that's practically kicking him out.
22:17That's kicking him out. Without the practically.
22:21Thank you for joining us, Teresa.
22:23If you have any questions, I will be delighted to answer you.
22:26If not, we listen and take notes, please.
22:29And if the man asks for another coffee, for example?
22:32Well, another 40 minutes.
22:34Then 40 minutes per person.
22:36No, 40 minutes per person and with submission.
22:40For example, if two gentlemen come and ask each for a coffee,
22:44it will be 40 minutes equal.
22:46Now, if they ask for a bun or a ration of anything,
22:51then we leave them an hour and a half.
22:56But an hour and a half on the clock.
22:58That is, we have to time the exact time that each customer is.
23:01Like all changes and innovations, this will generate some resistance.
23:06But nothing happens. It is normal, natural and, to a certain extent, desirable.
23:11What I want to make clear to you is that this is a rule.
23:15Of forced compliance.
23:18So get the idea going.
23:20And if we take the bill and the man doesn't get up, I mean, the newspaper man?
23:24No, the newspaper man does not exist, Elias.
23:29You will be with me in that it is quite unlikely
23:32that a man enters through the door,
23:34has a coffee, reads the newspaper
23:36and decides to stay and live here with us forever.
23:39To live, yes, highly unlikely, Mrs. Lázaro.
23:42That's right.
23:43But in the hypothetical case that something so exceptional happens,
23:46we would take exceptional measures.
23:50Anyway, using common sense is enough.
23:55Do you know what common sense is, Elias?
23:58Well, it depends on what we understand.
24:00He knows, he knows, Mrs. Lázaro. He knows and he will apply it.
24:03Forty minutes per customer and consumption.
24:06And don't forget to offer them other products of the letter, in case they don't know how to read.
24:10Ask for a chocolate, for example?
24:12Well, you can offer them a ration of Iberian chorizo del caro.
24:18That's good.
24:20Excellent, Teresa.
24:23A little sense of humor is good for motivating waiters.
24:28Come on, let's get to work.
24:37Well, this woman, I don't know what she's thinking.
24:40This is an elegant place and you can't rush customers like that.
24:44Escobita, we're not going to listen to her.
24:46What? But you said before...
24:48I said what I wanted to hear so you wouldn't make a big deal out of it, Elias.
24:51But we know perfectly well how to run this business.
24:53That's why we've been doing it for many years.
24:55Right?
24:56Well, don't get like that.
24:58The last thing I want now is for us to start a riot.
25:01Well, let's see.
25:03Are you in favor or against the vampire?
25:05I'm in favor of doing things right, as God commands, and avoiding conflicts.
25:10Don't call her a vampire, Leñe.
25:13Well, I'll leave you. My head hurts a lot.
25:25There's nothing about Íñigo. Not a single word.
25:29Does this make sense to you?
25:31I imagine the police haven't found anything.
25:34And I imagine the journalists have been bought by that Íñigo.
25:38Madrid Cabaret is the virtual drinker of all those starving people.
25:42With half a bottle of gin, he has them writing his will.
25:46Maybe he has some in his favor.
25:49But no one can control all the press in Madrid.
25:52Look, the director of La Gaceta Vespertina is a very good friend of mine, for example.
25:56And I don't know if they alternate in Madrid Cabaret.
25:59The director of La Gaceta is a friend of yours?
26:02Call him.
26:03Let's see if he hasn't closed today's edition yet.
26:06Call him for what?
26:07What do you mean, for what, Fabio?
26:09To publish about Íñigo?
26:12I want to see his name in bold letters, along with the word murderer.
26:16The woman. For that, we'll have to wait for him to be condemned.
26:19Newspapers put a lot of people back without waiting for them to be condemned.
26:25Let's calm down, dear, please.
26:27Look, I'll calm down when that murderer is in jail.
26:30But first I want to end his reputation.
26:32I want that every day I'm free, I see how people look at him.
26:36I want all of Madrid to know what kind of criminal he is.
26:41For that, we don't need to call any newspaper.
26:44But if it's a matter of days that he is officially accused of murder,
26:48tonight he could sleep in the dungeon.
26:51He could.
26:53I don't care about that.
26:55My daughter is dead.
26:57He killed her like a dog.
26:59He burned her body and threw it into the river.
27:02Anything we do to him, except for all that,
27:05stop whining and call that friend of yours.
27:08Yes, I understand what you're going through.
27:11Not ever.
27:13Even if he lived a thousand years, he could forget
27:16the image of his burnt body.
27:21Think about those last moments.
27:25The terrible fear that must have happened to you.
27:29And I couldn't protect her.
27:32I couldn't do anything for her, Fabio.
27:36I owe her this.
27:38At least this is what I owe her, revenge.
27:41Soon it will be time for revenge.
27:44And little by little you will overcome that anger and that pain.
27:47Those of us who are still alive learn to live with that pain.
27:52Live?
27:55I stopped living the day I saw my daughter in that state.
27:59The day I lost Carla.
28:24Hi, Trini.
28:27My God, I have a headache. I can't take it anymore.
28:31Have you caught the flu?
28:33Worse.
28:36The one who has caught me is Mrs. Lázara.
28:39Do you remember the mess I made yesterday at the dependents?
28:44I'm the same as the waiters.
28:47That you have to sell more, that you have to squeeze the customers.
28:50And all those stupid things. Why are they stupid?
28:53I don't understand what the hell he's doing with selling more.
28:56As if he were going to inherit the modern one.
28:58The only thing he wants is to make a name for himself.
29:00The day less thought, we see him polishing Don Fermín's shoes.
29:12Did you know about Pietro and Antonia?
29:15That they are getting married?
29:16Yes.
29:17Not the other one.
29:18That they are leaving because they are going to set up a bakery together.
29:22Yes, well ...
29:24I had heard something, but I didn't know it was such a decided thing.
29:27Well, look, it is decided that today Pietro has notified Don Fermín.
29:32It's good that it seems very good to me, because I ...
29:34Well, of course, how am I not going to understand it?
29:37But it is a failure for the salon, because they suddenly leave like that,
29:40and two great workers.
29:43Well, I'm very sorry for Don Fermín, but I think he has sought it out.
29:48Insisting so much on this norm that married women cannot work,
29:51that we are in the 19th century.
29:54Well, Trini, in the 20th century it is still women who get pregnant,
29:59and those who have to give birth, and those who have to raise.
30:03Well, I don't think Antonia is thinking about giving birth and raising.
30:08Well, woman, but Antonia is an exception.
30:11What things do you have?
30:13But it is normal for a woman, when she gets married,
30:16to spend the rest of her life with a child in her arms.
30:19And she also has to take care of her house,
30:22and she also has to take care of her husband.
30:24Well, I say that the husband can take care of himself.
30:26That there will be some man in Spain who is not as useless
30:29as not being able to fry an egg.
30:31Let me tell you again that there are always exceptions.
30:33That surely there are men who know how to make dinner.
30:36But I certainly don't know any.
30:38And that there are women who don't have children?
30:40Well, yes, there are.
30:42But the normal thing is that a woman, when she gets married, has them.
30:45And if she has them, then it is very difficult to work full time.
30:49Come on, I would tell you that it is impossible.
30:53Or not?
30:54Yes, it is impossible.
31:00Hey, are you okay?
31:03I am.
31:07I don't think so.
31:10I already know you.
31:12What's wrong with you?
31:13You can tell me, woman, I trust you.
31:19Come on, tell me.
31:25Mrs. Teresa, I...
31:29I wanted to tell you...
31:34that I am...
31:38that I am...
31:39that I am very sad about Antonia's death.
32:10Table four, we invite one of the house.
32:18Is everything okay here?
32:20Yes, yes, yes, everything is perfect, thank you very much.
32:23I see that you are still doing my industrial espionage.
32:26Do you want to drink something else?
32:28No, no, not at the moment.
32:30What I would like...
32:32Taking advantage of the fact that you are here, it doesn't have to be now, it can be later.
32:35I would like to ask you some questions about the operation of the business, if you don't mind.
32:38Right now, no problem.
32:41Well, I appreciate it because, well, all the information about the particularities of the business, well, it will come in handy.
32:47Are you sure you only want information about the particularities of the business or also about me?
32:52And why would I want information about you?
32:55I don't know.
32:57Maybe Mr. Iñigo sent you to control me.
33:00Iñigo? And why would he ask me that?
33:05Maybe he lost confidence in me.
33:08César, I really do not know the problems you may have with Iñigo.
33:12I'm here to see how the business works, nothing more.
33:16Well, if you say so, it will be.
33:19In any case, you will meet with Iñigo soon.
33:23Yes, I guess so. Why?
33:25Very good. Well, if you are so kind, tell him that we have already returned all the champagne boxes we had and that the supplier has returned them to us until the last peseta.
33:33Perfect, I'll tell him.
33:34And also that the supplier has no idea how he was able to poison Inés Balbuena.
33:41Don't you write this down in the notebook?
33:44No, it won't be necessary. I'll remember.
33:48As before, I was writing down every move you made.
33:51No, not your moves. I'm really here writing down ideas for my business.
33:57Also tell Mr. Iñigo that if he wants to tell me something, tell it to my face.
34:01He doesn't need to send me one of his own to spy on me.
34:05I don't like the tone in which you are speaking to me.
34:07And I don't like the scrutiny you have subjected me to since yesterday.
34:11Nor that you took me for an idiot.
34:13I have already told you that I am here for a business interest, nothing more.
34:18But so much suspicion, you start being a little suspicious.
34:21Suspicious? How suspicious?
34:24Like someone who comes to a party room to sit down and look at everything like an owl and write down everything he sees?
34:29That suspicious?
34:32What's the matter? Do you have something to hide?
34:34Absolutely nothing.
34:37He told me that I had to ask myself some questions.
34:39Very well.
34:40When I have them ready, I'll be behind the bar, working.
34:46I was talking to the waiters.
34:50Really?
34:51Yes, and they told me that one of them left overnight without notifying me.
34:56A little strange, isn't it?
34:57Yes, a lot.
35:00Especially that he left the same day Inés got poisoned.
35:06Don't you think so?
35:09Any other questions?
35:12No, not at the moment.
35:27Well, I left her there doing the homework.
35:30Oh, sorry, I was reading.
35:33No, don't worry. I lost the thread. I have my head elsewhere.
35:38How is Clarita?
35:39Fine, thank goodness she told me that she could do the homework alone because I don't know math.
35:46Hey, are you taking a pill?
35:49Yes, I'm just a little nervous.
35:52So?
35:54Well...
35:57The police was here yesterday and they found something that could cause us trouble.
36:02What did they find?
36:04Apparently, at the place where they killed Mrs. Carla, they found a button from a gentleman's jacket.
36:10And yesterday, when the police were here and checked everything,
36:14they found that a button was missing from a jacket of Inigo's.
36:18Well, that doesn't mean anything.
36:21Besides, Inigo has been single for almost nothing.
36:26And, well, what man doesn't have a button missing from his jacket?
36:29Yeah, Marta, but that's not the problem. The problem is...
36:32Yeah, the problem is that the button is the same as Inigo's button. I get it.
36:38So the police say that's white and bottled.
36:41White and bottled.
36:43Well, the police should get a little more information.
36:46Or maybe they don't know that most men's jackets have the same button.
36:49Really? And how do you know that?
36:52I sewed buttons when I was working with your aunt Conchita in the workshop.
36:57Sure.
36:58And more than once I had to go to the mercery for a few.
37:01We called them gentleman's jacket buttons. Always the same.
37:06And are they always the same buttons on all jackets?
37:09Well, Matilde, not always,
37:12but there was a model that was black with four holes,
37:15which we practically spent between 12 or 14 a week, if not more.
37:21Your aunt kept them in a bottle, like this, of glass...
37:24In the sewing machine.
37:26In the sewing machine.
37:27I brought that sewing machine with me when I moved.
37:35Well, yes, I'm worried about Inés.
37:38Don't tell me she's worse.
37:40No, no, it's not that.
37:41Don't tell me she's worse.
37:42No, no, it's not that.
37:43It's just that she's very discouraged.
37:45She's sure she won't be able to sing again.
37:47I'm afraid we're all going to have to make that decision.
37:50But don't say that, man.
37:51No, no, no, I won't tell her, of course.
37:53If the doctor doesn't assure her, nothing.
37:57But a sip of bleach on the vocal cords, that's terrible, honey.
38:03By the way, do you know if Cesar has gone to visit her?
38:08No.
38:09They've broken up.
38:11Don't tell me.
38:15Well, look, I think it's good news.
38:17But why do you say that? Inés, of course, is not well.
38:20Yes, yes, of course, of course.
38:21Love is what it has.
38:22But that young man was not clean wheat.
38:24The further away from her, the better.
38:26And I hope she forgets it soon.
38:27I hope.
38:29Yes?
38:31Sorry, can I come in?
38:32Yes, yes, yes, come in, come in, come in.
38:37Hello, Laurita, how are you?
38:38Very well, I'm leaving.
38:40Take care, honey.
38:41Have a good day.
38:42See you later.
38:44If you think it's okay, I'm putting my things.
38:46Of course, you as in your house.
38:54All right, Mrs. Lezra?
38:56I'm sorry, I have a little silly day.
38:59If I can help you with something.
39:02No, no, if it's nothing.
39:05You're going to laugh, but the matter of Antonia and Pietro has moved me a little.
39:10I don't know.
39:11I found that gesture very beautiful that he has had when he sacrificed everything for his future wife.
39:18That woman is very lucky.
39:20Like others.
39:26Excuse me.
39:27Sorry, I shouldn't talk to you in that tone.
39:30It's out of place.
39:31No, no, don't worry, woman.
39:34He hasn't said anything inappropriate either.
39:37The truth is that I don't know what's wrong with you, but I feel that I have confidence.
39:44Maybe it's a little unprofessional for me.
39:47No, no, not at all.
39:49I was the one who asked you.
39:52Besides, I understand it very well.
39:57I understand it perfectly.
40:02Perfectly.
40:07Well, yes.
40:13Here it is.
40:14Help me look for it.
40:18Let's see.
40:21There it is.
40:28It's the same.
40:30Marta, it's the same.
40:31It's the same as it appeared in that place.
40:33I would say it's identical.
40:34What I was saying.
40:35All men's jackets have the same buttons.
40:38Oh, Marta.
40:39The joy you give me.
40:41Marta.
40:42But why? I haven't done anything.
40:44What do you mean you haven't done anything?
40:45You'll see when I tell Inigo.
40:46The weight you've put on us.
40:51Identical.
40:53Identical.
41:05Well, Miguel.
41:06How did the demonstration go?
41:07Good.
41:08Better than yesterday's.
41:09Of course, worse than yesterday's.
41:10It would have been impossible.
41:11And here, did you have to put on the girdle or not?
41:13No, no.
41:14Not this time.
41:15This time there was a less normal mannequin.
41:17Oh, thank goodness.
41:18And my phrase, what?
41:19Did you say my phrase?
41:20Eh?
41:21Girdles, the girdle.
41:22In whose interior anyone gets in.
41:24Yes, Elia, yes.
41:25I used it.
41:26Well, what?
41:27Then a resounding success, right?
41:28Be careful, I haven't come here to ask you for a right over the idea.
41:32If not, I'll give it to you without interest.
41:34Because that's what friends are for, right?
41:36Very grateful, Elias.
41:37Now, if you've sold a lot, and you're going to take a juicy commission,
41:41and you want to invite me to something, well, I'm not going to say no either.
41:44Well, I wouldn't mind having a drink with you,
41:46but if you don't mind, everyone pays for their own.
41:48Because if I tell you how much my commission today is worth, you'll cry.
41:52What's the matter?
41:53Are people so clingy or what?
41:54As clingy as they haven't made a single order.
41:56Not a single one?
41:57Yes, I don't know.
41:58I don't know what went wrong.
41:59I've explained all their virtues very well,
42:01and people seem to be paying attention,
42:03but when it comes to the truth, not a single order.
42:05Well, well, Miguel.
42:06Don't make life difficult for yourself.
42:07The important thing here is that you've had a good time.
42:09But how is that going to be important, Elias?
42:10The important thing is to get money out of this, damn it.
42:12It's not a hobby, it's a job.
42:13Hey, well, well.
42:14Don't take it out on me.
42:15I was just trying to cheer you up.
42:16Yes, I'm sorry, I'm sorry, I'm sorry.
42:17It's just that this can't happen to me like with the Bible.
42:19I need that money.
42:21No, no, no.
42:22What's the matter?
42:23Do they pay you poorly here or what?
42:24No, no, they don't pay me poorly.
42:26Look, I play a lot with this.
42:28This one.
42:29The pen of the letters.
42:30Tell him.
42:32Yes, yes, yes, yes.
42:33It's here.
42:34They want to make an order of stripes, finally.
42:36Yes.
42:37I bring you good luck, Miguel.
42:39Yes, I'll take note of it, I'll take note of it.
42:41Well, if you have the catalog in front of you,
42:43just tell me the reference number and the size.
42:50Very good, very good choice.
42:56It's okay to hide things from Don Fermin, Antonia.
42:59Oh, but I do.
43:00I haven't hidden anything from you.
43:02I have left like this without thinking.
43:04Well, that bothers me.
43:05That you do things without thinking and without consulting me.
43:07We said we wouldn't say anything until we had signed the transfer.
43:10I know.
43:11But I'm ashamed.
43:12I'm ashamed to lie to him.
43:14He has always behaved very well with me.
43:16But we weren't lying to him.
43:17We were being prudent.
43:19And if the bakery one goes backwards, what?
43:21We both lose our jobs.
43:22That's not going to happen.
43:23No, of course, because Don Fermin always behaves very well with you.
43:25But he has kicked me in the street.
43:27Like all married women, Antonia.
43:29No, no.
43:30With Matilde he said he would think about it.
43:35I'm sorry I didn't consult you.
43:37I apologize.
43:39Thank you.
43:41And I apologize for raising your voice.
43:44Our first fights of lovers, right?
43:50Who is it now?
43:53Come in.
43:58Good evening.
43:59Good evening, Antonia.
44:00Is Pietro here?
44:02Yes, come in, come in.
44:03Thank you.
44:07Good evening.
44:08Good evening.
44:09I went to his house and he wasn't there.
44:11I assumed he would be here.
44:13We were about to have dinner.
44:15Oh my God.
44:16I'm very sorry.
44:17It will only be a moment.
44:19Can we talk?
44:20Can we talk here?
44:23Well, as you wish.
44:25I have come to ask you not to leave La Moderna.
44:31And I am willing to raise your salary as much as necessary.
44:40Of course, it is a trip that cannot be missed.
44:42From the Malfitana coast to the coast of Cinantho is what you need.
44:48Now let's continue.
44:49Don Fermin, good evening.
44:51Good evening.
44:52Well, do you have a moment to talk?
44:54Naturally.
44:55How is Inés?
44:57Well, she is quite bad, as was to be expected.
45:00The recovery is going to be slow.
45:03But, in short, there is some improvement.
45:05She can speak normally.
45:08You don't know how much I'm sorry.
45:10Now, about singing again, that's another matter.
45:14The vocal cords have been very damaged.
45:16And although they haven't told us anything definitive,
45:18the prognosis is not very promising.
45:21What a disgrace.
45:22I have not offered you anything.
45:23Would you like something to drink?
45:25I don't drink badly, but after what happened to Inés,
45:28the idea of drinking something in this place goes through my head.
45:34I understand perfectly.
45:35And I understand that the matter has not been much aired,
45:38because if not,
45:40I highly doubt that all these people were here
45:42taking a glass to their mouth, as if such a thing.
45:45Don Fermin, around 100 or 200 people pass by this place every night
45:50and nothing like this has ever happened.
45:52Are you telling me that once it happens, it's too much?
45:56Indeed.
45:57And it is much more serious if it happens to someone as special as Inés.
46:01Don't worry, we're going to do our best to find out what happened.
46:04It is the least they should demand.
46:08But, in short, I have not come to talk about that.
46:12I have come to ask you
46:15not to get close to my niece again.
46:17Inés and I are no longer together.
46:19I know, I know.
46:20And I assure you that I felt a huge relief when I found out.
46:23You are not a good influence for her,
46:26so I will sleep more quietly if you give me your word
46:29that you will stay away from her.
46:32As far as I know, Inés is an adult woman
46:34and does not need anyone's permission to decide
46:37who gets close to her or who gets away.
46:39That is true, but it is also true that you have hurt her a lot.
46:42And it was here, in her place,
46:44where she suffered an accident, so to speak,
46:47in a way that almost costs her life.
46:49Inés is like a daughter to me.
46:52And I plan to do everything in my power to protect her.
46:56I find it unbearable on your part,
46:59but it is not up to me who has to protect her.
47:02I love Inés with all my soul.
47:04I would never have wanted to hurt her.
47:05Whether you want to or not, it does not matter.
47:08You bring her problems.
47:11So stay away from her.
47:17Bye.
47:23You are very kind, but my salary is fine.
47:26I leave La Moderna because I do not want to separate from Antonia.
47:31Say a figure.
47:34No, it's not a matter of money.
47:37Well, as you look at it.
47:39If your salary is high enough, Antonia would not have to work.
47:43They could spend more time together.
47:46With due respect,
47:48Mrs. Alhazra, it will be me who decides if I am going to work or not.
47:52Of course, of course.
47:53Of course, excuse me.
47:55I only thank you very much.
47:57But the decision is made.
47:59I already told Don Fermín.
48:01It's not a matter of money.
48:04Very well.
48:05Thank you for the offer.
48:07Well, I don't bother you anymore.
48:11No, please.
48:12I already know the way.
48:14Take advantage of it.
48:23But are you aware of what you just did?
48:25Perfectly.
48:26That woman was going to give you all the money she asked for.
48:28Well.
48:29But I could have told her a figure to prove it.
48:32You don't understand, do you?
48:34That there is no figure in the world that makes it up to me to be away from you.
48:39The love that moves the sun and sadness.
48:44How beautiful.
48:45Beautiful, huh?
48:46But I haven't felt anything.
48:47No.
48:50Thank you very much for attending our call, inspector.
48:53Yes, and thank you for attending us these hours.
48:56In an investigation for murder, there are no schedules.
48:59Thank you for the coffee.
49:00You're welcome.
49:01And I hope you also have a good reason to make me come here.
49:05And I hope you also have a good reason to make me come here.
49:09Because since I was assigned to this case,
49:11there has not been a single night in which I have been able to sleep more than two hours.
49:16Vera, we have a serious reason to have brought you here at this time.
49:20We believe that you are leading the investigation on the wrong path.
49:26Have you burned yourself?
49:27No, I haven't burned myself.
49:29I have been outraged.
49:31I have been in the police force for a few years now
49:33so that no civilian tells me how I have to do my job.
49:37Inspector, we don't want to tell you how you have to do your job.
49:41We simply want to provide some information that we believe is relevant
49:46and that can change the course of the investigation.
49:49Well, provide whatever you have to provide.
49:51But comments and personal appreciation can be saved.
49:56Vera, inspector, the button you found in the river
49:59and the button missing from my husband's jacket
50:01will be of no use to you in front of a judge.
50:03Oh, no?
50:04No.
50:05Are you an expert in laws to say what will or will not be useful in front of the judge?
50:11I don't know much about laws, but I do know about sewing.
50:14My mother and my aunt were seamstresses
50:16and they have sewn and patched dozens of gentlemen's suits.
50:19Where do you want to go?
50:22Well, the button you found in the river is the most common button model in all of Spain.
50:27Virtually half of the gentlemen's jackets in Madrid use that button.
50:32Among them, the ones of many police officers, by the way.
50:43That's one, isn't it?
50:44You can buy it in any merchant shop in Madrid for hundreds of euros.
50:49Inspector, that button could be anyone's.
50:52Yes, but not everyone has a jacket with a button missing.
50:56My mother and my aunt, the seamstresses, would say otherwise.
50:59Every day they had to sew buttons.
51:02Yes, I agree, there are many men who lose buttons from their jackets,
51:05but none of those men threatened to kill Mrs. Carla.
51:10Look, when you're angry, you say a lot of exaggerations.
51:15And if you have to lock up each person who threatens and insults another in a discussion,
51:21there would be no room in prisons.
51:25First of all, I don't lock up anyone.
51:29I only investigate.
51:30And secondly, the threat may have been an exaggeration or not,
51:35but Mrs. Carla's body is not an exaggeration.
51:38Someone killed her and threw her into the river.
51:40No one is saying otherwise, Inspector.
51:43But you seem determined to reverse the facts so that someone is my husband.
51:47Someone is pressuring you, Inspector.
51:51Maybe your boss is pressuring me to blame me for Carla's murder.
51:56Hey, what are you insinuating?
51:58I'm telling you...
51:59No one is insinuating anything.
52:01No one is insinuating anything.
52:03All we want is for the truth to prevail and justice to be done.
52:09Because that's what you want too.
52:11All we want is for the truth to prevail and justice to be done.
52:15Because that's what you want too.
52:17Isn't it, Inspector?
52:26That murderer is still free, Fabio.
52:28If that's the case, a judge will make him pay for it.
52:30I get the feeling that this has just begun.
52:32How long do you think it will take to look at me like a vulgar murderer?
52:35I'm sorry to tell you that you are not welcome in this office.
52:38Do you really think I'm guilty of the murder of Carla?
52:40I saw Carla threatened.
52:42And days later, she appears murdered.
52:44Fabio, I'm telling you that I haven't done anything.
52:46Yes, you have.
52:47Weren't you going to the loan?
52:48That's where I come from.
52:49They haven't given it to you.
52:50Can't you see how terrible it's going to be for Pietro and me to leave here?
52:52But you are the ones who have made the decision.
52:54I haven't forced you to do anything.
52:56Your rules have forced us to do it.
52:58I don't know how I'm going to get out of this, Celia.
53:00Inés, not everything is lost.
53:02I hope so.
53:03And what about César?
53:04I get the feeling that César is hiding something.
53:06He left his job on the same day of the incident.
53:09But that can't be a coincidence.
53:11I don't think it's a coincidence.
53:12Dude, I didn't know you had a relationship with the cashier at Cine Garriluz.
53:15The cashier?
53:16No, no, I've never crossed half a word with that man.
53:19Who do you think you're sharing a table with?
53:21With the owner of Cine Garriluz.
53:24Can you be very disciplined and very professional?
53:27Nothing guarantees you your job.
53:29Only the business owner can guarantee continuity.
53:33I didn't know you wanted to be an entrepreneur.
53:35What I'm very clear about is that I'm not going to live in certain circumstances again.
53:39Let's see if he gets there in the summer and we can take off our jackets, which are a nuisance.
53:44Let me help you.
53:46Let's see.
53:49Thank you very much, Mr. Fermin.
53:51He's a gentleman.
53:53I'm sure he has a lot of women admiring him.
53:57It's best if you leave it.
53:58Before this becomes evident.
54:01I'll talk to Mr. Fermin.
54:03And I'll tell him I'm leaving the modern one.
54:05A bottle of cognac has disappeared from the reserve's furniture.
54:07And from the faces, as you can imagine.
54:09With pleasure.
54:14Can I tell him that I came after you to pick up a rag?
54:18And that the bottle was still there?
54:20What we were missing was to get into a fight, both of us.
54:22No, not the two of us, the three of us.
54:24Because I think along with her every word she says.
54:26Can that coward save you?
54:27Nobody is going to lie here.
54:29I'm telling the truth and only the truth.
54:31Marcel, please, don't force me to do it.
54:33You know I don't want to.
54:34Neither do I.
54:35But between killing you or having the people above me kill me, I prefer to live.