Salon De Te La Moderna - Capitulo 193
Transcript
00:0010 years later
00:04It's good to rest your feet once in a while.
00:07Feet and ears.
00:09I don't want to see the obsession that you have with the bands.
00:12There's no time that I haven't taken to mend them.
00:16By the way, are you going to the demonstration?
00:18No. No, no, no.
00:20No, because the little time I have free, I have to organize everything about the wedding.
00:25No matter how much I do, it never ends.
00:27Between the invitation, the flowers, the invitations...
00:31Well, I have the afternoon off. If you need help...
00:34No, honey, thanks.
00:35Enough already that you've been fixing my dress.
00:38By the way, I got up this morning and it was already fixed, as you did.
00:42I have the afternoon off fixing it.
00:44You know that as I start sewing, I don't stop.
00:47Thank you very much. It was perfect.
00:51Let's see what Pietro thinks when he sees it.
00:57Antonia.
00:58What?
00:59Don't tell me you haven't told Pietro that he's going to marry the same dress from his first wedding.
01:03Well, no. I couldn't. I was going to do it, I promise.
01:06But the bakery thing came up and what do you want me to tell you?
01:08That does take away my sleep.
01:11I'm not surprised he doesn't sleep.
01:13He's going to leave both of them their place in La Moderna to open his own business.
01:19What?
01:20Pietro is also leaving La Moderna?
01:22Trini, close the door.
01:25And on this subject, please, shut up.
01:27Yes, I shut up. And with a key.
01:29I'm going to keep it a secret, but please, don't leave me like this.
01:33What's that about Pietro also leaving La Moderna?
01:35It's the man you live with.
01:36How am I going to ask him that?
01:37No, no, no.
01:38With how difficult it is to find a place nowadays.
01:40No, that's why I'm telling you.
01:42No, Pietro doesn't want us to get married so we don't see each other.
01:46He wants to find a job where we can be together.
01:49How romantic.
01:51And has he spoken to Don Fermín?
01:52Because I don't think it's funny for him to lose the star baker of La Moderna.
01:57No, not yet.
01:59That's what worries me so much.
02:00I feel like I'm lying to him.
02:03But, girl, the way things are, he hasn't found the right moment.
02:06These things can't be said like that, out of the blue.
02:08He doesn't know how I understand him.
02:10What I don't understand is how that rule is still in force.
02:12Until when I worked at the stairs, I had colleagues who were married.
02:17Yes, when I got to work here, I also wanted to complain about this rule, remember?
02:22But the other colleagues, who were more experienced,
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.
02:33A rule is made to go through the years and then no one wonders if it makes sense or not.
02:37It was what I was saying, it doesn't make any sense at all.
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...
02:55It seems that the issues that affect women are slower.
02:59And if it changes, I don't know, girl, but...
03:02maybe we won't see it, huh?
03:09I have no proof.
03:10It's just my intuition, but...
03:13I think César is hiding something from me.
03:17But are you sure about that?
03:19I didn't have any complaints until now, I was delighted with him.
03:21Yes, yes, I have no 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.
03:30And that's not normal, because I shouldn't have done it.
03:33Well, maybe it was because of the incident, he was a singer.
03:38I understand that he has a sentimental relationship, right?
03:41Yes.
03:42We were talking about the opposite, that Inés suffered.
03:46And I noticed it uncomfortable, as if he was hiding something.
03:53But you're telling me that you think César...
03:56No, no, no.
03:57I'm not saying that César is responsible.
04:00What happens is that he is usually very frank and direct.
04:04And 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 this whole thing.
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.
04:24And 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.
04:32That nothing happens anyway, and what is failing is my intuition.
04:37Okay, yes, I'll stop by Madrid Cabaret from time to time.
04:40I'll have a drink, enjoy the music, the atmosphere.
04:44I think I've had worse jobs.
04:47Please, open your eyes wide.
04:50The last thing I need now is for something strange to happen in my business.
04:55The police have me in their sights and that would complicate my life.
05:05Oh, I don't want to see a rag in my life again.
05:07We've been cleaning the store all morning.
05:10Yes, who was going to tell us that a gramophone was going to accumulate so much dust?
05:14Well, how do you notice that Mario was dedicated to other things?
05:17Because he had the store on his sleeve.
05:19Well, but the important thing is that now we have the genre as we like it.
05:23And that we have our own store.
05:30Hey, Inés shouldn't be here.
05:34Yes, she's in the hospital getting the treatments they prescribed her.
05:40Laura, I didn't tell you anything, but yesterday, during the signing with the notary,
05:45Mr. Fermin didn't look very serious. Is he okay?
05:49Yes, my uncle is like me.
05:51He's happy about the store, but he can't stop thinking about what happened to Inés.
05:56They told us that we have to wait for his inflammation to go down to do more tests, but...
06:02But are you afraid of the worst?
06:03Yes. It seems that the irritation of the throat has caused an edema or something like that, the doctor said.
06:10We don't know very well what the consequences may be.
06:14My goodness, poor Inés. Just now that everything was starting to go well for her.
06:18She was about to sign the contract at the opera house.
06:21I wish it was all that.
06:24But what's the matter? Is there more?
06:26Last night, Inés and César broke up.
06:29And since then, Inés has been very discouraged.
06:32But now that you say it...
06:35Forgive the boldness, but...
06:37Do 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.
06:43But I don't know, they looked very happy, right? Like breaking up overnight.
06:47And on top of that, in the situation Inés is in, she doesn't...
06:51Look, I think the same. I've been turning her around all night and...
06:56Don't say anything.
06:57But Inés sometimes said that things were happening in Madrid Cabaret that she didn't quite understand.
07:05Things? What things?
07:07I don't know, I didn't want to go into details either, 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, no, I don't know.
07:23What you said out loud sounds crazy.
07:25Laura, listen to me.
07:28I don't see César capable of hurting Inés.
07:31He looked very in love, didn't he?
07:33Yes. Forget what I said and forget about César.
07:37Now the important thing is to focus on Inés.
07:41MADRID CABARET
07:52Now she's got a new back.
07:56Rosa, you're determined to get back to work, but I see you're already hurt.
08:02Hurt?
08:04Young women heal quickly.
08:07I'm saying this because she's cleaning the alley and she used to deny it.
08:13She's got a strong back, but I think she's got a strong mind too.
08:17A man I know should have a strong mind.
08:20Have you seen Cañete?
08:22No, why do you want to see him?
08:24I had to invite him to a demonstration, but I'll tell you later.
08:28A demonstration of what?
08:30Of prostitutes.
08:32Prostitutes?
08:33But Cañete and you...
08:35Yes, you'll be interested too.
08:37Because they're prostitutes and corsets.
08:40The most comfortable and probably the best in the market.
08:43Or so Miguel says.
08:44Miguel too?
08:45Yes, Miguel too.
08:47In fact, we're going to do a demonstration this afternoon...
08:50...at the bookstore at lunchtime.
08:52Miguel and I. You're invited.
08:54And why should I be interested in a prostitute?
08:56And corsets. Prostitutes and corsets.
08:59Well, go to the bookstore and check it out.
09:02Well, maybe I'll pass.
09:03Because maybe a corset like that, well tightened on the back...
09:07...it takes away the pain of a magician to work.
09:09Yes, of course, you too.
09:11That's exactly why you're going to be interested.
09:13Well, I'm going to look for Cañete.
09:14That one has to be with Trini.
09:17I saw him yesterday, holding her in his arms.
09:19In his arms?
09:20And I saw them kissing each other.
09:25If you mean yesterday, Esperanza...
09:28...I don't see what's wrong with helping a partner.
09:30Trini tripped and I picked her up in my arms.
09:32Period.
09:33Yes, yes.
09:34Because you told her that a client left without paying.
09:37Yes, yes, you already told me that yesterday.
09:40If you want, I'll repeat it today too.
09:41The truths don't expire.
09:43Oh, there's no need.
09:44Goodbye.
09:49But boss...
09:51...has Trini tripped you again?
09:53Really?
09:55Starting again?
09:56Nothing's wrong with Trini, Leñe.
09:58Let's see, but what problem do you have in opening your heart to me?
10:01Even if it's to tell me that you've fallen in love with Trini again.
10:05Come on, it's not a matter of love.
10:07Do you want to know what's going on with Trini?
10:09Yes, of course.
10:10If I tell you what's going on, will you stop being silly?
10:13Well, I can't promise you either, boss, but...
10:16Yes, tell me, tell me.
10:18What's going on...
10:21...is that she has a lot of imagination, Elias.
10:24And now she's coming back in because we have the whole living room.
10:27Let's see, let's see.
10:29She's in love with Trini.
10:32All day, with Trini in her mouth, from now on.
10:34What a torture, really.
10:36I can't believe it, again.
10:56Oh, excuse me, Mr. Fermin.
10:58I'm sorry I didn't let you in.
10:59Yes, well, with all those folders and the mess you're in, it's...
11:03Sorry.
11:05My God, my God, what a shame.
11:07Excuse me, Mr. Fermin.
11:08No.
11:10Let's see.
11:12No, no, no, no, no, take it off, take it off, take it off, please, no, no.
11:15It's not a problem.
11:16My God, don't bother, what are you doing in these messes?
11:19I'm not bothering you, woman.
11:23If you're so right in the world,
11:25I don't know why I'm so busy with everything and I don't even have a place to leave it.
11:28And now, on top of that, the hassle of having it here,
11:31picking up files.
11:32No hassle.
11:34And you know it can be installed in any of the rooms upstairs.
11:37Choose the one you like the most
11:39and locate your office there. It's on paper.
11:42Thank you very much, but it's just that upstairs I can't do my job well in the living room.
11:46You know I like to have everything under control.
11:48Not to mention, of course, that I prefer to be closer to you.
11:51Maybe you need me, well, I don't know,
11:53to dispatch anything urgent.
11:55Yes, yes, you're right about that, but I insist that you find a place to work
12:00where you can develop your work in a more comfortable way,
12:03not with this suit and ...
12:05Well, if you insist, maybe, I don't know, you could install me here.
12:09Here? Here in my office, you mean?
12:12Yes, of course.
12:13Well, I understand that your niece Laurita is no longer going to use it.
12:17Maybe I could take your desk.
12:19If you think it's okay.
12:22Well, Laurita will continue with the publicity in the living room,
12:28but the truth is that she no longer occupies the office.
12:34Look, from now on, this will be your desk.
12:38So welcome to my office.
12:41Thank you very much.
12:43Well, I'll let you go, I see you were going out.
12:45Yes, yes, I was going to Mrs. Carla's funeral.
12:48Accompanying her to her mother is the least I can do in this tragic moment.
12:51It is a great gesture on your part.
12:53By the way, I thought it better.
12:58And I'm going to the inauguration of the Plaza de las Ventas.
13:01Really?
13:02Yes, yes, yes.
13:03What good news.
13:05Who knows, maybe we'll see each other there in an hour.
13:08Well, let's hope so.
13:10So I wanted to thank you for your words yesterday,
13:13which coincided with everything my nieces told me, encouraging me.
13:18It seems that you know very well human nature.
13:22I would like to.
13:24Well.
13:32By the way.
13:33Yes?
13:34Don, why don't we go to the square together?
13:40Unless I have another companion, of course.
13:43No, no, no, no, I don't have one.
13:45I would be delighted if it were you.
13:47Well, I'll pick you up in a while, when I come from the funeral.
13:53Can I leave it in your hands until then?
13:55You don't have to ask. You know I do.
13:58I'm the manager.
14:00Thank you.
14:15I'm sorry.
14:30You'll be a traitor.
14:32I don't even know why I bother to educate you.
14:35Commandment 9.
14:37Cleaning the plates and steel roofs is not your thing, but the waiter's.
14:41So?
14:42Fernanda, I don't like it at all.
14:44Look, no water for the enemy.
14:46Get away from those roofs.
14:48Manolo, I'll put the coffees in A3.
14:53And you, you should be ashamed.
14:56Stealing staff from other departments.
14:58What are you talking about, ma'am?
15:00You're the one who's stealing here.
15:01You're taking away my place to put the coffees.
15:03You think you can abuse the newbies?
15:05But me, I'm already well fed.
15:07Esperanza, no one is abusing me.
15:09That's what they make you believe.
15:11They tell you that one day you do them a favor, another day they do it to you.
15:14But have you ever seen Cañete with a broom in his hand?
15:17I really want to have one right now to see if you've thrown it away.
15:20Can't you see that you don't leave me space for the coffees?
15:22Wait a minute.
15:23Esperanza, Cañete hasn't asked me to do anything.
15:25It's been my thing.
15:26But look how the waiters are there.
15:28The poor people are out of town.
15:29Well, the good work is to do it in the parish.
15:32That's how he thanks me for all the lessons I've given you.
15:35And on top of Barde.
15:37Don't you want me to pay him to learn his commandments?
15:40Well, you should.
15:41What if he doesn't believe you?
15:43What did you get him to hire you for?
15:45Without even finishing the month of trial.
15:47Thanks to my teachings and thanks to the amendment.
15:50And I thank you very much, Esperanza.
15:52I am very grateful.
15:53But I say that I must have had something to do with it, right?
15:55That here, the one who has been giving the call,
15:57while you were at home,
15:59has been the amendment here.
16:01Crow-baby.
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.
16:13Because no one, like you, can understand me.
16:15That you also direct your own team.
16:17Let's see, who wins the battle?
16:19The 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.
16:29Since we are here.
16:30When a student takes a test of who is in merit,
16:33of the student who has studied or of the teacher who has taught the lesson.
16:36But they ask me, I came to put two coffees.
16:39Answer at once.
16:41What do I know?
16:42Well, the sergeant is his, Esperanza,
16:44and the student is yours, Marta.
16:46But then you are not giving the reason to both, like crazy.
16:49And if you don't give the reason to both, you are not giving it to any.
16:52Of course.
16:53Do you know what I'm telling you?
16:54That you put the coffees.
17:00I tell you one thing,
17:01that it is the last time that you take out the colors in front of another boss.
17:04Because if you don't, you're going to spend all afternoon
17:06cleaning the floor of the workshop with baking soda and a brush.
17:09Well, Esperanza, that will be another day because I ignore.
17:13I die and I don't educate you.
17:23Come in, honey.
17:24Antonia, I don't know if I'm doing well being here.
17:26What?
17:27Teresa doesn't like that the clients visit the common areas of the room.
17:30Oh, Teresa, Teresa.
17:31Not that you were any client.
17:33Come in, come in and sit down.
17:34Okay.
17:38How empty this is, right?
17:39I thought I would find all of you here.
17:40Oh, yeah.
17:41Well, then you see them.
17:42It's just that they've all gone to the bookstore.
17:45Miguel is doing a demonstration of stripes and corsets.
17:49Stripes and corsets?
17:50Yes, yes, yes.
17:51In the bookstore?
17:52That's right.
17:53And it has to be very interesting because it has gone to Cañete.
17:55I can't believe it.
17:56I swear.
17:58But look, you know what?
17:59I do have you for myself.
18:00Oh, you're going to accompany me in the meantime.
18:03Very well.
18:10I have empanadas, do you want some?
18:11No, thank you, Antonia.
18:12I've already eaten.
18:15Well, then.
18:17Tell me.
18:18Why have you come?
18:20If I tell you the truth, because I miss you a lot.
18:23That's the real reason.
18:25If it hadn't been for this stupid rule of married women, I wouldn't have quit my job.
18:30You don't know how I understand you.
18:31Perfectly, too.
18:34But, well.
18:35Let's hope this changes soon.
18:37I hope so.
18:38I hope so.
18:39Well.
18:40How is Marta doing as a cleaner?
18:42You must be very happy to have her here.
18:44Well, yes.
18:45The truth is, yes.
18:46Well, she's doing very well.
18:47The truth.
18:48And she holds on very well to hope.
18:49That's another job, huh?
18:53I'm very happy for her.
18:54She deserves it.
18:55Yes.
18:56That girl makes herself loved.
18:58Even Clarita missed her when she took her to school.
19:01Marta also missed her a lot.
19:03By the way, she's about to finish her shift.
19:05Why don't you wait for her and go with her to pick up Clarita?
19:08You'll both miss her a lot.
19:10That's a very good idea.
19:12Yes, I'll look for her later.
19:13But eat, eat, please.
19:16The truth, Antonia, is that...
19:18I've missed these moments a lot.
19:20Hearing the gossip.
19:22One and the other.
19:24Any news I should know?
19:27Yes.
19:28Laurita and her friend Celia, the photographer.
19:30Well, they're going to take care of the gramophone shop from now on.
19:34Well, I already knew that Laurita was a very entrepreneurial woman.
19:36Yes.
19:38Although, poor thing.
19:40She won't have 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.
19:49Maybe it's too soon.
19:50I don't want to bother her.
19:51I see.
19:52By the way, I heard from Don Fermín that...
19:54that today is Mrs. Carla's funeral.
19:57Antonia, that's very complicated to tell.
19:59I see.
20:01Darling, I don't want to be indiscreet.
20:03But I've heard from two clients.
20:05And they said that...
20:07the newspapers say they'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.
20:24But they've also released him, because he's innocent.
20:26But the newspapers don't say that.
20:28Of course.
20:29Rumours sell much more.
20:30I see.
20:31But that's the problem.
20:33Rumours...
20:35when they're repeated,
20:36end up being true in the eyes of others.
20:40I'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.
20:50I hope so.
20:52I'm glad he came.
20:53Yes.
20:58I hope so.
21:15Don Jacobo.
21:17It seems you've been alone for a while.
21:20Maybe the company you were expecting has abandoned you.
21:23Who says I'm expecting someone?
21:25Who?
21:26Maybe that company
21:28has met you here.
21:30But I have to wait a bit for that.
21:33You're right.
21:34I was a bit ahead.
21:36In any case,
21:37do you need me to introduce you to someone?
21:39No, no, no.
21:40I...
21:42I think I know how to defend myself, yes.
21:45Actually,
21:46that's not the reason I'm here.
21:48Tell me.
21:51I'm here as a spy.
21:52A spy?
21:55Are you spying on me?
21:57Yes.
21:58And no.
22:01Let's say it's an industrial espionage.
22:04I'm here
22:06gathering ideas for my new place in Seville.
22:08You know.
22:09What are the most popular hours?
22:11How does the staff work?
22:13Even how you behave with the clientele.
22:16Who was going to tell me?
22:18I've taken Don Jacobo as an example.
22:21Well,
22:22I'll let you keep spying on me.
22:24If you need anything, I'm here.
22:26Thank you very much.
22:36We have to start this now, Elias.
22:38Don Salvador shows up,
22:39he catches me with his hands in the dough,
22:41we've already messed it up.
22:42Well, with your hands in the dough, dear bookseller.
22:44In the dough!
22:45Stop with the chants.
22:47By the way,
22:48I congratulate you on the success of the call, Elias.
22:50All this could happen from time to time,
22:52but to buy books.
22:53Well, wherever there's a good bookseller,
22:55let's get rid of him.
22:56Let's go.
22:59A moment of attention, please.
23:09First of all,
23:10thank you very much for coming to our presentation
23:12of La Fajete products.
23:14It's an honor to have you all here in the bookshop.
23:18If you didn't know,
23:19all these books you see here are also on sale.
23:22Miguel, stop chatting,
23:23we're running out of time,
23:24and in the end,
23:25we won't see each other for a while.
23:27I'm coming.
23:28I'm coming.
23:29I have the products in the back shop,
23:31I'll bring them to you.
23:32And since you've come to a demonstration,
23:35I've prepared a little surprise for you.
23:40Trini,
23:41aren't you going to try one of those?
23:43Because in your condition,
23:44it wouldn't be very good for you.
23:46How could I wear a corset?
23:47No, I've come to support Miguel,
23:49and you know why.
23:51Wait a minute,
23:52I didn't expect to see you here.
23:53You'll see, it's getting ready.
23:55And you,
23:56since the wedding is near,
23:57you want to look very handsome, right?
23:59Of course.
24:00One moment, please.
24:01While we wait for Miguel,
24:02I, as the head of sales,
24:04will tell you about the excellence of Fajas.
24:08Fajas for men and women.
24:09Fajas La Fajete,
24:10in which anyone can fit in,
24:12to make you thinner and more handsome.
24:15Oh my God.
24:16A clear competitor to Laurita
24:18came out with this advertising phrase.
24:20Mrs. Esperanza,
24:21I have a squirrel's ear,
24:22I've heard it perfectly.
24:23I've said it so you could hear me.
24:25Well,
24:26what are you doing here?
24:27I've been looking for my employees,
24:29and it turns out they're here,
24:30for a literary meeting.
24:31Excuse me, Mrs. Teresa,
24:32but we're on break, aren't we?
24:34No, because five minutes have already passed.
24:36Hey,
24:37your watch has stopped.
24:39Can't you see?
24:40What a strange phenomenon.
24:42And besides,
24:43what are you doing?
24:44Are you preparing a rally?
24:45Excuse me, Mrs. Teresa,
24:46if you allow me, I...
24:47No, I don't allow you.
24:48Come on,
24:49everyone work,
24:50let them see one by one.
24:52Marching.
24:54One by one.
24:56Come on, go.
24:58And since there is no better way
24:59to check the quality of La Fajete products
25:01than by looking at the stalls...
25:02Shut up.
25:04And I thought you were a serious man.
25:15Hello.
25:25Has something happened to Inés?
25:26No,
25:27Inés is the same.
25:29You don't know how scared I was to see you.
25:31I know.
25:32Inés is not more serious,
25:33but I've come to talk about it.
25:35I know you've broken up.
25:37Well, broken.
25:39Let'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 didn't come to talk to you
25:44because for Inés the relationship is broken.
25:46What Inés needs now is
25:48tranquility,
25:49not to be disturbed by anyone.
25:50So I beg you
25:51to respect her will
25:52and don't try to go back to her
25:53because it won't happen.
25:56Has Inés asked you to come here
25:57to tell me this?
25:58No.
25:59Inés doesn't know I'm here.
26:00I've come on my own.
26:03Well, then,
26:04allow me to tell you right now
26:05that it's a matter that doesn't concern you.
26:08Cesar,
26:09what have you done
26:10for my sister to break up with you
26:11overnight?
26:12I'm not going to insist on Inés,
26:13but on you.
26:14I think I deserve an explanation.
26:17This is something that only affects
26:18your sister and me.
26:20Is it because of something you did
26:21or your friend from Marseille?
26:26Laurita, please don't turn around.
26:27I understand you're worried.
26:28Cesar,
26:29do you have anything to do
26:30with the cup of elegy?
26:31It has nothing to do with it.
26:32But don't worry.
26:33Your sister will get her life back
26:34and she'll be happy.
26:36Her happiness depends on you.
26:38Look,
26:39I'm leaving,
26:40but I hope you leave her alone.
26:55Well, yes.
26:56Oh, no.
26:57The bookseller had a corset on, Trinidad.
27:00Oh, my God.
27:01But it looked good on her.
27:03How could it look good on a woman?
27:05Well, I don't know.
27:06It was a demonstration.
27:07Well, no.
27:08It was a demonstration
27:09to make a fool of herself.
27:10That's what it was.
27:11Hey, do you know why
27:12Mrs. Lazara brought us here?
27:14Well, no.
27:15I have no idea.
27:16I guess it's not right
27:17to tell me your business.
27:19Don Fermín should have chosen you
27:21as his manager, not her.
27:23Well, don't make a big deal out of it.
27:25I'm not going to forget
27:26so easily
27:27that you were a few minutes late
27:28to work
27:29to go to see the booksellers.
27:32Sorry.
27:33They're here.
27:37Yes, Mrs. Lazara, here we are.
27:38I'll give you the pendants you asked for
27:40at the time you asked for them.
27:42Thank you very much, Teresa.
27:43What I'm going to tell you next
27:45is something I prefer to do like this,
27:47with small groups,
27:49to be able to answer
27:50all your questions and doubts.
27:52Well, you will be the first.
27:55Oh, my God.
27:56How scary.
27:57Is it something serious?
27:58No, no, no, no, no.
27:59What we are going to deal with
28:01is something very beneficial for the salon
28:03and, therefore, for us.
28:06I've been doing a profitability study
28:09and I've discovered something amazing.
28:12With very little that we put on our part,
28:15we can double the weekly profits.
28:18Double the profits?
28:20But how?
28:21I mean,
28:22are we raising the prices like this?
28:25Well, almost, almost.
28:26Trinidad.
28:27What I want
28:28is for you to double
28:29your weekly sales.
28:32Double?
28:48I'm glad I feel like I have the job done
28:50and all afternoon to go for a walk.
28:52Thank you for inviting me, Matilde.
28:55Going to look for Clarita at school today
28:56was the best thing I could do.
28:58The boats you took in the square,
29:00that was the best thing.
29:02The delicious walk,
29:03the boats too,
29:04but now that we're at home, miss,
29:07I'd like to talk to you very seriously.
29:11About how well I was doing this afternoon.
29:14What did your teacher tell me
29:15when she went to pick you up?
29:17Well, if you don't know,
29:18what did she tell you?
29:22Hey, Clarita, watch how you talk to me.
29:26Your teacher complains about
29:28the behavior you've been having these days.
29:30And she even told me about your bad grades,
29:32how quiet you were, by the way.
29:34You don't believe everything she says.
29:36She's obsessed with me.
29:37Clarita, she taught me the exams.
29:39And there are several suspended,
29:40many, in fact.
29:42The lessons were a mess.
29:45Clarita, I need you to change your attitude.
29:49Clarita, with the good student
29:50you've always been,
29:52so smart, so obedient,
29:53and so responsible.
29:55And what good is it to me?
29:57What good is it to be obedient and responsible?
30:01Nothing.
30:02No one listens to me.
30:03No one listens to me.
30:05Hey, that's not true.
30:07You can talk to me whenever you want.
30:10With you.
30:11Look, Matilde, don't be a liar.
30:13If you don't listen to me...
30:14Clarita, don't go to your sister like that.
30:17I go to her however I want.
30:20Hey, Clarita.
30:25Do you want me to go talk to her?
30:27No, it doesn't matter.
30:29It doesn't matter, she'll get over it.
30:31I'm sorry, Marta.
30:33I invite you for a walk and you find yourself with this.
30:36Don't worry.
30:37She's a little girl, that's all.
30:39I don't think so.
30:41I thought that everything about the move,
30:42about coming to live with Íñigo,
30:43had happened to her,
30:45and it's gotten worse.
30:47You don't know how embarrassed I've been with the teacher.
30:49The grades must be so bad.
30:51No, not because of that, but...
30:53because of the behavior she's having now.
30:58Patience, Matilde.
31:00Patience and decision.
31:02Because I don't know about anything else,
31:04but about the kids, yes.
31:05They all went through my hands,
31:07and I can't.
31:09And the kids need you to take care of them,
31:11but they also need you to put limits on them.
31:15Of course.
31:17What Clarita needs now are limits.
31:20If you need help, I'm here.
31:26It's very easy to understand.
31:28I want you to do more sales,
31:30and make more money per sale.
31:34But how do the dependents intend to do that?
31:38It's simple.
31:39While they're preparing the client's order,
31:42you tell them about the excellence of other products,
31:45and so they encourage you to buy them.
31:49I'm sorry, Mrs. Lázara,
31:51but this proposal goes against a rule we have here.
31:54We can't talk to the clients about the bill,
31:57only the essentials.
31:59That's right.
32:00In the modern world, we talk about what's fair to the clients.
32:03The clientele doesn't come here to argue with us.
32:06Rules are useless.
32:08Unnecessary.
32:09I totally agree with you on that.
32:12But if we adjust one enough
32:16to help us with profitability,
32:18the change will benefit us all.
32:21Yes, but profitability isn't everything.
32:24If the modern world stands out,
32:26it's because of the good treatment of its employees.
32:28And because of their elegance.
32:29Yes, it's about elegance and knowing how to be there.
32:32I'm not asking you to stop doing it.
32:34What I'm asking you to do is, while you're working,
32:37recommend other products to the clients,
32:40and, if possible, the most expensive ones.
32:47May I ask why there's so much silence?
32:50Don't you think the products in this room are of the highest quality?
32:55Yes or no?
32:57Yes, yes.
32:59Well, then be aware,
33:01because you're not fooling anyone.
33:03You're just helping them to consume more.
33:07I'm sorry, Mrs. Lazara, but I think...
33:10I suppose what you think is based on old-fashioned criteria.
33:16And now that I'm here, I'd like to inform you all
33:19that, in case you need me,
33:21you can look for me in Mr. Fermin's office.
33:24I'll occupy the table next to you.
33:29That's all. You can leave.
33:31And remember that I want to see how sales increase.
33:35One moment, Teresa.
33:46You tell me.
33:48I need you to stay in charge of La Moderna this afternoon.
33:52Mr. Fermin and I will go together to the inauguration of the Plaza de Todos.
33:57You look capable of staying alone.
34:09Dear Inés,
34:11I'm writing these letters to inform you about what I'm going to do next.
34:15Something I'm doing for me, but especially for you.
34:18For us.
34:20Through the embassy, I've contacted the French Gendarmerie
34:24and I'm going to give them all the evidence I have against Marcel
34:27and the clan he works for.
34:29The Marseillaise clan.
34:31To do this, I only ask that I be released from prison
34:34so that I can finally go to America.
34:37Our dream.
34:39Remember?
34:41I don't want to pressure you, but I hope you still want to come with me.
34:45This is the only way I've found to make sure you don't get hurt again.
34:51But if you don't want to know anything else about me, I'll understand.
34:54And I won't bother you again,
34:56even if you're what I love most in this world.
34:59This will be my farewell gift.
35:04I just hope that one day you can forgive me for all the harm I've caused you.
35:09With all my love,
35:11César.
35:15With all my love, César.
35:26So I go out with the corset on
35:29thinking that you would be there, that you knew where you were coming from.
35:32And I go, ta-da!
35:34Like showing the eighth wonder of the world.
35:36Well, for Teresa, it would be the eighth, ninth or tenth wonder.
35:39It would have to do with her.
35:41With her arms like this and the corset on her body.
35:43I thought she had become a coupletist.
35:45Yes, laugh, laugh, but I didn't have a good time, really.
35:47My goodness, so much trouble to organize the demonstration
35:50and I didn't sell a single sheet.
35:51Besides, I think I said yes to the corset, that I won't be able to sell it.
35:54Will I have to pay for it?
35:56Well, there you have your first sale, Miguel.
35:59Well, love, let's see, you're always in time to do another demonstration.
36:02That's what commercials do, right?
36:04Of course, in the bookstore, not to mention, because I risk that Don Salvador discovers me
36:07and then I don't sell a corset, or a book, or anything.
36:10Thank goodness you have me to cheer you up, friend.
36:13And you too, Trini.
36:15I brought you a gift.
36:17The gift is that you are going to leave us alone to enjoy the night alone?
36:23I have the gift out there because I couldn't put it in without you seeing it ahead of time.
36:27I'm going for it.
36:30It won't be your grandmother's portrait.
36:37No.
36:40Oh, a wicker bolster!
36:43But...
36:45Not even a sunshade!
36:49The first two gifts the baby has.
36:51Because you haven't received others, have you?
36:53What else is he going to get if you're the only one who knows?
36:56Well, then it's clear.
36:59You'll name him Godfather.
37:01Well, and if the baby is a boy, I'll give him my name.
37:03Francisco Ruiz Fernandez.
37:06I think it sounds good.
37:08Or Paquito.
37:09Or Curro.
37:11Or Kiko.
37:12Or Frasco.
37:13Or Frasquito.
37:16Miguel, don't get like that either.
37:18If you want, you can name him Miguel II and that's it.
37:20But I imagined it there...
37:22Well, I'm excited.
37:23Sorry.
37:24I didn't know you two were so sensitive about this.
37:27You're a great friend.
37:28Well, I'm going to get some liquor and we'll cheer up the father.
37:31Sorry.
37:38Don't you think it's time for Trini to stop working?
37:41Because she eats more and more and she's starting to notice the pregnancy.
37:44And that living room is full of women who are jealous of everything.
37:47And yet you're the only one who knows.
37:49For a short time, Miguel.
37:50You have to convince her.
37:51I tried yesterday.
37:52But she didn't listen to me.
37:54Well, it's just that our genes don't work.
37:56Cañete, you know that my mother worked until the day she gave birth to me.
37:59And also, literally, because she was in front of the fireplace,
38:01I almost burn myself when I see this scar.
38:04But stop being silly, Miguel, this is serious.
38:06Trini is pregnant.
38:08She shouldn't work.
38:11I can imagine.
38:13The poor thing and...
38:15But...
38:23I know it's not the right time,
38:24but there was no other time to meet with my accountant.
38:27You see, that's how demanding the life of a businessman is.
38:30Well, you accompany the bulls and I accompany you back to the office.
38:34You have to be grateful.
38:36I hope I haven't disappointed you.
38:38No, no, on the contrary.
38:40I've learned a lot from you.
38:43Thank you very much.
38:44But I was referring to the square.
38:47Oops, sorry.
38:48No, there were things to sort out.
38:50I have the feeling that you rushed the inauguration.
38:54Well, I don't know.
38:55The truth is that I'm not as...
38:58As understood as you.
39:00It seemed to me that the square was a dream.
39:02Such a big dream and with those beautiful arches.
39:06It may be.
39:07Do you know how much that bull cost?
39:11No more, no less than 12 million pesetas.
39:15Shut up, shut up.
39:16For God's sake, I get dizzy just thinking about those amounts.
39:19What impressed me was Diego Fortuna's work.
39:22He had the responsibility to deal with the first bull in the history of sales.
39:27And his pulse has never shaken.
39:30And that it was a bull from the cattle of the Domecques.
39:34Wow.
39:36You never cease to surprise me with your knowledge, Mrs. Lázara.
39:39I would never have thought of you.
39:41Well, it's true that I like tauromaquia.
39:44But from your arm I'm learning a lot.
39:47You know so many details and so many facts about bullfighting art.
39:52Thank you very much for insisting that it was at the inauguration.
39:56I would never have forgiven myself for not being present in this historical event.
40:03I am the one who is grateful.
40:05It is a pleasure to spend time with you.
40:08It is to be here in this office working.
40:11But today in the square ...
40:15It has been a perfect afternoon, Don Fermín.
40:22Clarita has just eaten.
40:25And have you seen the answers she has given me?
40:27And why didn't you listen to them before?
40:31Don't you think you're worrying too much?
40:34But Clarita is in an age of change.
40:37And if you add to that everything that has happened to her,
40:39that she becomes an orphan, her brothers live far away, the accident ...
40:43It's just a lot of things.
40:45Yeah, but even the teacher has not paid attention to me.
40:49Well, I don't know.
40:50I hope you're right.
40:55Let's trust.
40:59Oh, by the way, before I forget.
41:01What do you know about Inés?
41:04Well, at the moment we don't know the extent of her injury.
41:08But in the meantime, I have asked Jacob to help me
41:11investigate what is happening in Madrid Cabaret.
41:15And that?
41:17Do you think something is happening behind your back?
41:20I'm afraid César is hiding something from me.
41:23I'm not sure, but ...
41:25Maybe it's all that's going on that's making me paranoid.
41:29No, it's not paranoia, it's being attentive. You're doing well.
41:34You don't know how lucky I am to have to talk to you.
41:38You always understand me.
41:41And we are in the same tune.
41:46I see you don't regret marrying me.
41:50It's the best thing I've ever done in my life.
41:53You make me very happy.
41:56And you to me.
42:01Inigo Peñalver, open the door. We know you're at home.
42:14Inspector, come in, please.
42:17Here is the record order and the judge's request.
42:21Start the record. You know what to look for.
42:35Well, I don't want to bother you anymore.
42:37The accountant is about to arrive and you are late.
42:41And excuse me, please, I would like to accompany you to your house, but ...
42:45I have to ...
42:46No, please, don't worry.
42:49I'll let you work.
42:50Yes.
42:52Well, I'm a little ashamed to talk about this, but ...
42:55I don't know if you know that when I was working in the Madrid-Paris warehouses,
42:59I was the one in charge of recommending the jewels to the wife of Master Belmonte,
43:04Mrs. Julia.
43:06Wow, you're a surprise box.
43:11I really enjoyed spending a few hours with you outside this room.
43:16I agree, Inigo.
43:17We spent many hours here working side by side, but ...
43:21I don't know, I think this afternoon I have been able to get to know you better.
43:25Well, I hope what I have discovered does not disappoint you.
43:30Don Fermín, you could never disappoint any woman. Never.
43:37Excuse me.
43:38I've told you too much.
43:40No, no.
43:42Unclog me.
43:43The good always lasts a little.
43:45Have a good night, Don Fermín.
43:46Good night.
43:48I'm going to bed.
44:04I know it's the suit of my first wedding, Ramón's wedding.
44:07But ...
44:09I think the important thing is what one feels, not what one wears.
44:14And well, I also think we will save a lot of money, which is not bad at all.
44:22Antonia, can I come in?
44:23Yes, come in, it's open.
44:27Hi, honey.
44:28Good morning.
44:30Marta and I have already had dinner, but ...
44:33I've left your dinner here.
44:35Sit down, please.
44:36Yes.
44:38I wanted to talk to you about the preparations we have left for the wedding.
44:42Well, we still have to agree on where we are going to do the invitation.
44:47But what really worries me are our suits.
44:50I suppose you will wear the Sunday suit, which suits you perfectly.
44:55You are going to be very handsome.
44:56And it would be nice if Marta saw it, in case we have to make some arrangement.
45:00And ...
45:01And as for my suit ...
45:03Eh ...
45:05What's wrong with you?
45:08It's that ...
45:09About the bakery ...
45:13It's complicated for us.
45:14How is it complicated? What do you mean?
45:18Yes, because there is another who wants the transfer.
45:21And it will have to be solved with a push.
45:25A push?
45:26Yes, the one who makes the best offer gets it.
45:29We have to raise our offer, Antonia.
45:34Raise how much? How much are we talking about?
45:37As much as we can.
45:39Everything.
45:40Because, of course, if he puts more, he takes it.
45:45All our money?
45:47But, Pietro ...
45:49Well, maybe we have to think about it,
45:51because it's on that street, in the bakery, but ...
45:54Maybe it's not such a good deal, right?
45:56I have no doubt about this, Antonia, but ...
45:59With a push it's like that, right?
46:00It's an all or nothing.
46:03Well, it gives a little vertigo, really.
46:07I'm sorry.
46:08But I had to tell you.
46:09Yes, of course.
46:10I didn't want to give you a bad night.
46:14We'll talk about it tomorrow, okay?
46:16Yes.
46:18What were you telling me about the suits?
46:20No, nothing, nothing.
46:22Nothing.
46:24Eat quietly.
46:30Thank you.
46:34Are they going to take Ñigo back to the dungeon?
46:37No.
46:38Of course not.
46:40Hey, Clarita, why don't you go to bed and go to bed?
46:42And now I'll tell you, huh?
46:44Come on.
46:47Come on.
46:59Can you tell me what this mess is about?
47:01Mr. Peño.
47:02They have woken up my little sister again.
47:04I'm sorry, ma'am, but it's the usual procedure.
47:07At this time?
47:08Are they coming to my house?
47:10Everything is explained in the order.
47:11If it's okay to read it ...
47:12Inspector, I owe you an explanation.
47:15Very well.
47:16Maybe 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.
47:28A jacket button, exactly.
47:30Does it ring a bell?
47:41Are they really looking for that in my house?
47:44A jacket that lacks a button, indeed.
47:47And they still consider me suspicious of Carla's murder, right?
47:51Don't worry.
47:52If you are innocent, we will not find anything in this record.
47:56But I am very afraid that ...
47:59Is this jacket yours?
48:02Well, of course it's mine.
48:04Well, there's a button missing here.
48:06Do you see it?
48:17I'm sorry to tell you that the button found in the river is exactly the same as the others in the jacket.
48:22I think you're going to have to give me a lot of explanations.
48:25But a lot of explanations.
48:38Yes, yes, tell me, inspector.
48:43What?
48:44How is it possible?
48:46We must be prepared.
48:47The police can show up at any moment and arrest me.
48:50No.
48:51That's not going to happen.
48:55I should talk to him.
48:57No, Pietro, you can't do that.
48:59If you talk to him, you would be betraying Antonia, which is even worse.
49:02Go home, Pietro.
49:04Expect to have the transfer of the bakery well secured.
49:08And in the meantime, how do I look him in the eye?
49:11I'm out of breath, my love.
49:13Come 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 his hand?
49:21Why don't you quit the job now?
49:23I'm leaving La Moderna, Fermin.
49:25What are you saying?
49:26Yes, I'm sorry, but Antonia and I are going to open a bakery.
49:29We have to try not to let Pietro go.
49:31We have to convince him, whatever it takes.
49:33And I'm not telling you to do it.
49:35Let me do it.
49:36Let me try, we have nothing to lose.
49:38How's your first week as a cashier?
49:41Well, getting to work little by little, yes.
49:44Well, I'm Agustín.
49:46Laura.
49:47Although everyone calls me Laurita.
49:49I mean, we have to time the exact time each client is.
49:52Like all changes and innovations,
49:55this is going to generate some resistance.
49:57But nothing happens.
49:58It's normal, natural, and to a certain extent, desirable.
50:02Well, this woman, I don't know what she's been thinking.
50:04This is an elegant place.
50:06And you can't get customers in a hurry like that.
50:08Listen, we're not going to do anything to her.
50:11Is the director of the bakery a friend of yours?
50:13Call him.
50:15Call him for what?
50:16What do you mean, for what, Fabio?
50:18To publish about Íñigo.
50:20Hey, are you okay?
50:21I am.
50:23I don't think so.
50:25I already know you.
50:26What's wrong with you?
50:28You can tell me, woman.
50:30What confidence.
50:31I don't like the tone in which you're talking to me.
50:33I've already told you that I'm here for a business interest.
50:36Nothing else.
50:37But so much suspicion, I'm starting to get a little suspicious.
50:41He's going to laugh, but the matter of Antonia and Pietro,
50:44which has moved me a little,
50:46I don't know,
50:47I thought it was very nice, that gesture he had
50:50when he sacrificed everything for his future wife.
50:52Yeah, I know.
50:54I was talking to the waiters.
50:58Oh yeah?
50:59Yes, and they told me that one of them left overnight,
51:02without notifying me.
51:04A little strange, isn't it?
51:05Well, the police should be informed a little more.
51:08Or maybe they don't know that most men's jackets have the same button.
51:13Oh yeah?
51:14And how do you know?
51:15Come on, I sewed buttons when I was working with your aunt,
51:18with Chita in the workshop.
51:19I've come to ask you
51:22not to get close to my niece again.
51:25I love her with all my soul.
51:27I would never have wanted to hurt her.
51:28Whether you want to or not, it doesn't matter.
51:31You bring her problems.
51:34So stay away from her.