Salón de té La Moderna - Ep 190
Salón de té La Moderna - Ep 190
Transcript
00:00This is a work of fiction. Any resemblance to actual people, or events, or events is purely coincidental.
00:17Excuse me.
00:30You've been very brave.
00:38When will my uncle come? He told me he had called him.
00:46Don Fermín! Inés! Inés.
00:51I've come as fast as I could. Are you okay?
00:55No, I'm not okay.
00:57I was so scared, but nothing compared to what you've been through.
01:01My God, Inigo, how is it possible that a shooting took place here in the madrigal?
01:06I don't know.
01:08But at the entrance I came across the funeral pyres. Two bodies were taken. Who were they?
01:14Apparently they are two gunmen.
01:16Two gunmen?
01:19What were you doing here?
01:20I wanted to talk to César, and suddenly some men came in and...
01:27And what did they want?
01:29They wanted to kill César, but they didn't succeed.
01:34When the police arrived, César was no longer there.
01:37They've been looking for him everywhere, and in fact, they're still looking for him.
01:43But judging by the bloodstain, César must be seriously injured.
01:47Another possibility could be that those two gunmen were accompanied by other people
01:52and they took César against his will.
01:55Inés, I'd like to know why those men wanted to kill César.
02:00And why did César have a gun? And what was the relationship between them?
02:05Uncle, César asked me to go out through the back door, and once I got out, I called the police.
02:12But the important thing is that César saved my life.
02:14But the important thing is that César saved my life.
02:17No, Inés, no. The important thing is that he put you in danger again.
02:20Mr. Fermi, the police have interrogated him.
02:25I'm sorry, darling. I'm sorry.
02:28Can you hug me, please?
02:30I'm sorry.
02:39Come on, Clarita.
02:41When you finish the milk, we'll go to bed, and if you want, we can read together.
02:45I have a book in my room called Great Hopes, by Charles Dickens.
02:51I'm not sleepy yet.
02:53Besides, I'm not going to sleep until Íñigo gets here.
02:57Why did he run away?
03:00They called him from Madrid Cabaret, because there was a fire.
03:05But nothing serious. He just had to go and put some order.
03:08You go to bed, and as soon as he comes back, I'll let you know.
03:11Okay. But if I fall asleep, you wake me up.
03:15Yes.
03:17Hey, Clarita, I've been thinking that maybe you don't have to go to class tomorrow.
03:21We'll both stay here, and I'll give you the lesson.
03:23Why did he give you the lesson?
03:25It's because it's in the papers.
03:27Because of what they say about Íñigo.
03:29Yes.
03:31Did any of your classmates...
03:33He messed with me.
03:35Yes, but only one or two.
03:37And what did they say?
03:39My sister's husband killed a woman.
03:42He's a bad man.
03:44And be careful with him.
03:47I'll go talk to them tomorrow.
03:49Well, better with their parents.
03:50Yes. And when it happened, what did you do? Did you go talk to the teacher?
03:54What for?
03:56So that they accuse me of being a whore?
03:58I ran out and hid until I got over it.
04:02But I didn't get over it.
04:04Let's do something, Clarita.
04:06You're going to stay a couple of days without going to class.
04:08You're going to stay here.
04:10I'm going to do my homework, and we'll do it together in the morning.
04:13And in the afternoon, if you want, you can go to Susana's friend's house.
04:16What do you say?
04:18Matilde, I don't like to hide.
04:20I'm not going to school or here.
04:25Could it be Íñigo?
04:27No, Íñigo has keys.
04:51I'm sorry.
04:53Are you okay?
04:55No, no, I'm fine.
04:57It's my things.
05:00Ah, it's the one I take.
05:03Ah, I'm also glad to see you, Clarita.
05:06How are you? I'm sorry to disappoint you.
05:09It's very difficult to compete with Íñigo.
05:11I just came from being with him.
05:14I guess you wanted to see me.
05:16Yes.
05:18I guess the fire in Madrid-Cabaret wasn't very serious, right?
05:23No, nothing, nothing.
05:25A spark that jumped from the electrical installation, but nothing important.
05:28In fact, Íñigo must be about to arrive.
05:32Well, Matilde, remember your promise.
05:35If I fall asleep, you wake me up.
05:38And let me know when Íñigo arrives.
05:40Yes.
05:43Good night, Jacob.
05:45Good night, Clarita.
05:47Good night.
05:54One shot, man, and two dead.
05:56César?
05:58No trace of the manager.
06:00Everything seems to indicate that he was injured.
06:02What is clear is that he was in some mess.
06:06But Matilde, calm down,
06:08because the police are convinced that Íñigo has nothing to do with this.
06:11No need, Jacob.
06:13I'm sure someone took advantage of what happened
06:15to stain his reputation.
06:17And we both know who.
06:37The fire in Madrid-Cabaret,
06:39owned by Mr. Íñigo Peñalver,
06:41suspected of a recent murder still under investigation,
06:44has become the scene of an alleged account adjustment...
06:47Can you repeat it?
06:49The first part.
06:53The fire in Madrid-Cabaret,
06:55owned by Mr. Íñigo Peñalver,
06:57suspected of a recent murder still...
06:59No.
07:01That's where you're completely wrong.
07:03You should say,
07:05it's owned by the murderer,
07:07Mr. Íñigo Peñalver.
07:09Keep reading.
07:11In fact,
07:13the police consider the possibility of an account adjustment
07:16between organizations...
07:18Look, honestly,
07:20I don't know what Íñigo has to do with all this.
07:22And what does that matter?
07:24It's his place,
07:26where his own manager has killed two people.
07:29Fabio,
07:31don't you realize?
07:33The scandal is served.
07:35Yeah,
07:37the silver platter.
07:39And from now on,
07:40you won't be able to doubt the reality it belongs to,
07:43much less that it's my daughter's murderer.
07:49No, of course,
07:51the prosecutor will keep that in mind.
07:53I hope so,
07:55because the public opinion wouldn't understand
07:57that I spend another minute in freedom.
07:59What are they waiting for to arrest him?
08:01What else does he have to do?
08:03Set the city on fire?
08:05No, let's trust Inspector Jiménez to do his job.
08:08That's precisely what worries me the most.
08:12Yesterday, I had to kick him out of the house.
08:16Did you talk to him?
08:18And you haven't told me anything.
08:20What happened?
08:22We had a heated discussion,
08:24at least on my part.
08:27I insisted that there was too much evidence to arrest Íñigo.
08:30However, I didn't see it that way.
08:33And his arguments to defend his position
08:35seemed insulting to me.
08:38Especially to Carla's memory.
08:41But Bárbara,
08:43don't you think it's a good idea
08:45to go against the police in charge of the investigation?
08:48On the contrary.
08:50It's time to do what needs to be done,
08:52to make them feel our pressure,
08:54to force them to do their duty,
08:57and to do justice once and for all.
09:01And what can I do?
09:02What can I do?
09:04Get this shooting,
09:06which has come to us like a ring on the finger,
09:08to be the icing on the cake.
09:10Talk to whoever you have to talk to.
09:13Get them to link Íñigo
09:15to that gang of criminals.
09:25Dear God.
09:33Dear,
09:35have you heard about the Madrid-Cabaret?
09:37A shooting and two dead.
09:39And the worst thing is that Inés, Don Fermín's niece,
09:41was there too.
09:43Yeah, of course.
09:45Everyone's talking about the same thing.
09:47Thank God we weren't there.
09:49I haven't stopped thinking about it.
09:51I thought these things only happened in the movies, Miguel.
09:53By the way, how are the sales going?
09:55Oh, well.
09:57The mail section has been the balsam of Fiera Brás.
09:59I already have 12 orders.
10:00And the best thing is that once they're on sale,
10:02I don't have to worry about anything.
10:04Well, Virgen Santa, Miguel,
10:06it looks like this time you've hit the nail on the head.
10:08Yes, well, the Bibles,
10:10the truth is that they are to fix the soul,
10:12but it seems that people prefer to fix their bodies.
10:15Well seen.
10:17In addition, Madame Lafajete is not only a leader
10:19in fajas and corsets,
10:21but also in service.
10:23Orders are made with due discretion.
10:25If your right hand buys a faja,
10:27let your left hand know.
10:28There it was.
10:30I'm very happy for you and your customers,
10:32whoever they are.
10:34Well, Miguel.
10:36Elias, is something wrong?
10:38Since you came in, I've noticed you're tense.
10:40It even seems that it's hard for you to breathe
10:42and you walk like a duck.
10:44Let's see, the truth is ...
10:46I will deny it for the rest of my life, Miguel,
10:48even if they torture me to death.
10:50But yes, indeed,
10:52I'm wearing a faja
10:54of Madame Lafajete.
10:56But as a gentleman, obviously.
10:58Of course not, man.
11:00What I did was the order under another name.
11:02Yes, under the husband's name,
11:04the owner of the mansion.
11:06If your right hand buys a faja,
11:08let your left hand know.
11:10I'll be a grave.
11:12And are you happy with the acquisition?
11:14I wouldn't be surprised if they confused you
11:16with a big film.
11:18I complain that if I have decided on the faja,
11:20it is only and exclusively to hold my kidneys well.
11:22You know that I spend many hours standing,
11:24Miguel.
11:26I don't need to stylize my figure
11:28because I have a natural gift
11:30that is really ...
11:32Excuse me, excuse me.
11:34La Goleda de las Letras.
11:36Tell me.
11:38Ah, Don Salvador.
11:40Yes, right now I was with a client,
11:42but I can talk, yes, yes.
11:44Yes.
11:49My God, I can't believe it.
11:51Well, what Matilde was missing.
11:53And that the newspaper relates Ñigo
11:55with the incident,
11:56even if it is veiled,
11:58it seems temerary to me.
12:00I was talking to him
12:02and he was as embarrassed as me.
12:04And how is your niece?
12:06I understand that she was present
12:08when those armed men entered.
12:10Inés?
12:12Yes.
12:14I didn't know.
12:16Well, as they say,
12:18they were in the wrong place
12:20at the wrong time
12:22and also with the wrong person.
12:24Are you referring to Cesar,
12:26who escaped unscathed?
12:28Although, yes,
12:30he is still impressed with what he has lived.
12:32Imagine, in the middle of a shooting.
12:35Is something wrong with you, Mrs. Lazara?
12:38Excuse me, I'm not feeling very well.
12:41My stomach has been upset.
12:43The truth is that just to put me
12:45in his niece's place, I ...
12:47Well, thank God
12:49everything ended well,
12:51although it could have been much worse,
12:53of course.
12:54It's just that it has opened the door to the public.
12:56Yes.
12:58Mrs. Lazara, if you don't mind,
13:00we finish dispatching the issues of the day
13:02and so we forget that unpleasant issue,
13:04even if it's just for a moment.
13:06Teresa, if you'll excuse us.
13:08No, wait a minute, Teresa.
13:10I'm the one who's leaving.
13:12Mrs. Lazara ...
13:14Please,
13:16I would prefer Teresa to dispatch with you.
13:18After all,
13:20there are only a few orders left to close.
13:22Yes, yes, of course.
13:24If you need to take a break ...
13:26Thank you very much,
13:28it is very considerate of you.
13:30If you'll excuse me.
13:37I understand.
13:39No, no, I don't think it should be a problem ...
13:43Of course.
13:45Of course.
13:47Good morning, Don Salvador.
13:52I'm lost, Elias.
13:54Don't tell me that Don Salvador
13:56has realized that you are a double agent,
13:58that you work in two shifts.
14:00I mean, in two shifts.
14:02What are you talking about?
14:04I'm talking about the demonstration the other day.
14:07To see if it was too risky, for example.
14:09And if Teresa has called Don Salvador to tell him.
14:12No, Teresa would never do something like that.
14:14Besides, it has nothing to do with that,
14:16but with something much worse.
14:18Don Salvador wants to incorporate an assistant
14:19so that he can start working in the bookstore tomorrow.
14:22Well, much better.
14:24So you have more time to betray him.
14:26I mean, for the money.
14:28No, quite the opposite,
14:30because I'm going to have to be on top of that assistant
14:32and I'm afraid he's on top of me.
14:34And do you know why?
14:36No.
14:38Because it's about Salvita, Don Salvador's son.
14:40To you?
14:42No, wait, now comes the good part.
14:44He wants me to teach him the trade.
14:46Well, he has entrusted you to his son, right?
14:47As soon as he has taught him,
14:49Salvita will be in charge and I will go to the street.
14:51Ah, well, you're right,
14:53because I would do exactly the same as Don Salvador.
14:55You would teach Salvita
14:57and then to the street, continuing with the saga.
14:59Have you seen how beautiful?
15:01Precisely now I cannot afford to lose this job.
15:03But why not?
15:05Think about it, Miguel.
15:07You would have all the time to dedicate yourself exclusively to the trades.
15:09In addition, if you are a single man,
15:12who does not have any food to eat,
15:14you will have no problem getting ahead well.
15:17But if you are not happy,
15:19why do you need two jobs?
15:21Let's see if you're going to get anxious
15:23and you're going to end up having a problem.
15:25You're right.
15:27Yes, yes, yes, there is no harm that for good it does not come.
15:29Adaptation period, you say, right?
15:31What?
15:47Come on.
16:05Why do you walk as if you were constipated?
16:07Because you confuse elegance with constipation
16:12and a duck with a swan.
16:14Let's see, why did you ask me to leave?
16:15Because every detective
16:17has to have an assistant
16:19to be able to tell him everything he is discovering.
16:21And I'm going to unmask
16:24the thief of the bottle of cognac.
16:26But then are you sure it wasn't Marta?
16:29Man, as sure as you are constipated.
16:31Come on.
16:34Look.
16:40What do you see there?
16:42Well, let's see.
16:43I don't want to get my fingers caught either,
16:45but everything indicates that this is a grease stain or oil.
16:48Of course.
16:50Just like the one we saw at the reservoir.
16:52Do you remember?
16:54And who can leave a grease stain here?
16:57Well, the dirty people.
16:59No, man.
17:01The vans that park right here.
17:03Oh, no one beats me at this.
17:06Well, you're already a little loose,
17:08because since yesterday you have handbooks
17:10walking around the whole place.
17:11What, have you discovered something new?
17:13Can I see your notes?
17:15No, no, no.
17:17Hey, and you don't fool me, huh?
17:19Something's wrong with you.
17:21Apart from walking like a duck,
17:23you're crumpled.
17:25Well, because of the constipation,
17:27I have lost weight.
17:29But no one beats me at this.
17:31You must have bought a strip,
17:33Madame, the strips, right?
17:35What are you saying?
17:37But what things do you have, woman?
17:39I don't know what you're talking about.
17:41One thing is to discover a stain,
17:43but another very different
17:45is to discover that a gentleman wears a strip.
17:47Open your vest, take off your shirt.
17:49What vest or what shirt?
17:51Someone like me, with the body I have,
17:53that nature has given me,
17:55I'm going to need to wear one of those things.
17:57Besides, you ignore that I have been
17:59a model for the students of Villasartes.
18:01I have brought you your favorite pastas.
18:06Inés, your sister told me that you didn't have dinner yesterday
18:09and that you haven't had breakfast today either.
18:11Why do you still have an empty stomach?
18:13Uncle, I'm not hungry.
18:16Honey, look,
18:18yesterday I didn't want to harass you with questions
18:21because I knew you had to rest.
18:23I know, uncle, I know.
18:25I am aware of the seriousness of the facts.
18:28So?
18:30Well, I can't get rid of the image
18:32of those men shooting.
18:34As far as I know,
18:36since you had the fatal accident,
18:38you haven't worked there anymore.
18:40So what were you doing in Madrid, Cavallé?
18:42But uncle, I've already told you.
18:44I had met with César.
18:46We had a pending conversation.
18:48And you didn't know what he was up to?
18:51It doesn't matter, it doesn't matter.
18:53Fortunately,
18:55that man won't cause you any more harm.
18:57Harm?
18:59But uncle,
19:01César saved my life.
19:03Yes, but before he also put you in danger.
19:05But it doesn't matter, it doesn't matter.
19:06Anyway, the police will find out
19:08what you don't want to tell me.
19:10And it's César's relationship with those gunmen.
19:13And that's the only thing that matters to him.
19:15No, Inés, no.
19:17The only thing that matters to me is you.
19:19But it doesn't seem casual to me
19:21that a week ago you almost died of poisoning.
19:23And yesterday, in a shooting,
19:25in a place where you shouldn't be.
19:27Uncle, I've already told you, please.
19:29I'm sorry, I'm sorry, I'm sorry.
19:31You need to rest.
19:33No, I need you to stop pressuring me.
19:34And please leave me alone.
19:37Inés...
19:39Uncle, please, I need to be alone.
19:56And can you share your hypothesis with me?
20:00I'm getting the hook.
20:01I'm getting the hook.
20:05As soon as Mrs. Lázara comes out,
20:07her hair will fall off.
20:09Esperanza, if you want, I've finished at the lab.
20:11I'm going to clean up.
20:13Don't interrupt her now, teacher,
20:15because she's about to solve the case.
20:17What case?
20:19But, well, what world does she live in?
20:21Well, the case of the theft of the bottle of cognac
20:23and also the one to excuse Marta.
20:25But it's still not possible, huh?
20:27That she's always the suspect of everything bad.
20:29Yes, exactly, Pietro.
20:31And that she calls her mother-in-law all her life.
20:33I understand, but I don't think it's the best example.
20:37What's wrong with your mouth?
20:40Oh, nothing.
20:42I open my mouth and my toe hurts.
20:45But it's not serious.
20:47It's nothing.
20:49Esperanza, tell me.
20:51What have you found out so far?
20:53Silence.
20:55Don't interrupt her now, teacher,
20:58because she sees things that we don't.
21:09I know who painted the bottle of cognac.
21:13Or a driver of the van.
21:16Or a unloading guy.
21:20I don't know.
21:22Uncle, I didn't know you were here.
21:25How is Inés?
21:27Bad, very bad.
21:29It's my fault.
21:31I've pressured her with too many questions
21:33and all I've got is that she doesn't want to talk to me.
21:37But it's Cesar.
21:39How did we not see how dangerous that man was?
21:43I don't know.
21:45I don't know.
21:47I don't know.
21:49I don't know.
21:51It doesn't matter.
21:53Please tell her to forgive me.
21:55I love her very much.
21:57Don't worry. Inés knows enough.
22:01By the way, Laurita,
22:03I was talking to Agustín Comas
22:05and I made sure that what happened between you
22:07wasn't more than a misunderstanding.
22:09No, no, it doesn't matter.
22:11Thank you for your interest.
22:13Wait, I was also talking to someone.
22:16To Antonia.
22:18She's very sorry for having to leave the Modern.
22:20I'm sorry too.
22:22Wait a minute.
22:24Don't take it the wrong way,
22:26but it's so hard to break that rule
22:28and don't tell me again
22:30that it's an aggravation for the former employees.
22:32That's exactly what it is.
22:34An aggravation, in addition to an injustice.
22:36I know, but I can break your theory in a jiffy.
22:39Why don't you ask any of the former employees
22:42if she would be upset
22:44because Antonia could continue working at the Modern
22:46after getting married to Matilde herself?
22:48Don't you realize that with such an absurd rule
22:50you're going to lose the people you care about?
22:53Do you really think you'll find someone better than Pietro
22:56or Antonia to work at the Modern?
22:58You always say we're a family.
23:00Do you really want to break it?
23:02How easy it is to ask all those questions.
23:05No, no, it's easier to answer them.
23:12Will you be aware of your sister?
23:14Yes, I've taken the afternoon off.
23:15Okay.
23:17Give me a kiss.
23:20Goodbye, darling.
23:39I almost messed it up.
23:45Maybe you're right.
23:47The time has come for me to quit my job.
23:52Are you sure?
23:54You know what I think,
23:56but you didn't seem very convinced.
23:58I'm not.
24:02Was I giving you another push?
24:05No.
24:07I was thinking.
24:11The decision has been made.
24:13I'm quitting the Modern.
24:15I can't say I don't regret your decision,
24:17but it's the best thing you could do.
24:19You can't keep hiding your pregnancy
24:21or your marriage.
24:23That couldn't end well.
24:25I guess.
24:27But I don't know.
24:29When I think about it,
24:31everything seems so easy.
24:33I enter Mr. Fermin's office,
24:35I tell him right away,
24:37but then when I get in,
24:39I don't know,
24:41I get all flustered.
24:43I don't know if I'll be able to do it.
24:45I don't want him to fire you
24:47because you lied to him.
24:49You're the one who wants to leave.
24:51Yes, it seems easy to say that,
24:53but I don't know.
24:55I'm ashamed,
24:57and I'm afraid,
24:59because Mr. Fermin doesn't deserve me
25:01to have lied to him like that.
25:03Neither he nor you.
25:05And I'm afraid because in the end
25:07I've never left a job.
25:09Never.
25:11And this place is my home.
25:13My home.
25:15And you are my family.
25:19I don't know, I'm pregnant and I'm getting sentimental.
25:22Don't be silly, woman.
25:24That you're not here doesn't mean
25:26we're not going to take care of you.
25:28Do you want me to walk you to the office later?
25:30No, I want you to leave me alone for a while.
25:32I'm going to do it today,
25:34before the day is over.
25:42Bye.
25:50The manager surprised me today
25:52with a maneuver that I didn't quite understand.
25:54What did Mrs. Lázara do to you this time?
25:56Well, not to me.
25:58She did it to Mr. Fermin.
26:00Since he arrived,
26:02he hasn't stopped dancing to the water
26:04and now suddenly he has stopped doing it.
26:06What do you mean by that?
26:08Because he has distanced himself.
26:10Or that's what I thought.
26:12Are you worried about that?
26:14A few days ago, you were worried
26:16because they had gone together to the sales.
26:18Teresa, one thing can't bother you
26:20and also the opposite.
26:22Oh.
26:24Yeah, that's true.
26:26Maybe I'm the problem.
26:28Or the thing is that there is no problem.
26:31Why don't you forget about it?
26:33Oh, Cañete, because I can't.
26:35Because this situation is unsustainable.
26:37I have to make a decision and I have to make it.
26:39Decision? What decision?
26:40Aren't you thinking about going and leaving Moderna?
26:55Well, at least you were able to eat something.
26:58The guy was worried.
27:01Wait, I'll help you.
27:04And he keeps telling me about that guy.
27:07Well, that.
27:08The cashier was the owner of the place.
27:10And instead of apologizing,
27:12he decided to keep feeding the confusion.
27:14I don't know, maybe he thought it was funny to laugh at me,
27:17but I didn't find it funny.
27:19Neither did he.
27:21Well, let's not waste time with someone like that.
27:23Do you want me to make you an infusion?
27:25The doctor said it would be good for you.
27:27No, I don't feel like it.
27:29But thank you for staying with me.
27:31You're the best sister I can have right now.
27:33And the only one, right?
27:35You're always when I need you.
27:36And you don't ask me uncomfortable questions like our uncle.
27:40Inés, if I don't ask you questions, it's so I don't have to insist.
27:44But I'll do whatever I want.
27:46What happened is very serious.
27:48And if the guy asks you,
27:50it's because he feels responsible for not protecting you.
27:52Yeah, but I don't need his protection.
27:54Besides, he would never understand what César did for me.
27:57All he cares about is that I had a gun.
28:01Are you okay?
28:04Yes, yes.
28:06Do you want to go to the doctor?
28:08No.
28:10Inés, everything will be fine.
28:12You'll recover and you'll be able to sing.
28:15The truth is that I'm very worried about César.
28:18The police said he could be dead or kidnapped and...
28:26I'll go.
28:36Hello. Thank you very much.
28:44Inés, this is for you.
28:48From César.
28:54But this date is three days ago.
28:56Inés.
29:04Don't force your voice. I read it.
29:10Dear Inés,
29:12I'm writing these letters to tell you what I'm going to do next.
29:15Something I'm doing for me, but especially for you.
29:19For us.
29:21Through the embassy, I've contacted the French Gendarmerie
29:23and I'm going to give them all the evidence I have against Marcel
29:26and the clan he works for.
29:28The Marseillaise clan.
29:30To do so, I only ask that I be released from prison
29:33and so I can finally go to America.
29:36Our dream.
29:38But if you don't want to know anything else about me, I'll understand.
29:41And I won't bother you again,
29:43even if you're what I want most in this world.
29:46I grabbed the cap,
29:48I went back to the alley
29:50and there I found the empty bottle
29:51and I put it in a bucket.
29:54I just had to ask our night watchman.
29:58And he did?
29:59Yes.
30:00And what did he say?
30:02That the driver of the delivery truck had asked him permission to go to the bathroom.
30:07So, of course,
30:09that's when I realized
30:11that all the mess I had made up
30:13was absolutely right.
30:15Yes, yes, yes, of course it was absolutely right.
30:18But there's something I don't understand.
30:19Tell me exactly how he did it.
30:22Let's see, he snuck into the reserve,
30:24he broke the bottle,
30:26which he didn't know was worth a lot,
30:28he took it and drank it with his partner.
30:30Of course, he thought
30:32that we weren't going to realize that a bottle was missing.
30:35That is, word for word,
30:37what your boss has told you.
30:39By the way, he just called me
30:41to apologize to me.
30:43Just that?
30:45In addition to two checks.
30:47One to pay for the import of the bottle
30:50and another in terms of damages and damages.
30:52That's better.
30:55You know what I'm telling you, Esperanza?
30:57That the police force has lost a great detective with you.
31:01Although for that they should accept women, of course.
31:05There are so many rules that don't make sense.
31:08Yeah.
31:10Well, I just wanted to clear Marta's name.
31:13As head of my department and responsible,
31:16I couldn't tolerate her being questioned.
31:19Man.
31:21Yes?
31:23Did you want to see me, Mr. Fermin?
31:25Yes, come in, Marta.
31:27Sit down, please, sit down.
31:30Well, Mr. Fermin, as for the bottle theft ...
31:33You see, Marta, you don't have to justify anything.
31:36Because thanks to Esperanza's investigation,
31:40we have discovered the real culprit.
31:42So I deeply regret
31:44that the shadow of doubt has engulfed you.
31:48And I hope you accept my most sincere apologies.
31:51There would be more, Mr. Fermin.
31:54One cannot erase one's past with a pen, right?
31:57The only thing that has hurt me is that many have thought badly of me.
32:02I understand and I'm sorry.
32:04Without you, all the reason.
32:06But hey, let's keep the link.
32:09Esperanza, congratulations again.
32:15Alleged murderer.
32:18Owner of a place in Madrid where there is a shooting and two people die.
32:25Don't tell me you don't have a sense of humor.
32:30Eva?
32:32Where have you been?
32:34I just left Clarita at her friend's house.
32:37Sit down.
32:39Yes, some colleagues got involved with her, accusing Íñigo.
32:41You can imagine.
32:43It's not the first time it happens.
32:45Well, any news?
32:47No, none.
32:49They insist on relating me to the facts.
32:51How is it possible that whatever we do,
32:54they will never give us a break?
32:56When are they going to leave us alone?
32:59I think Mrs. Bárbara has nothing to do with the Marseillais.
33:03Well, I guess so.
33:05But I wouldn't be surprised if she were, through Fabio,
33:07pressuring the newspapers.
33:08It's the second time your name has appeared in the papers in two weeks.
33:11That's true, yes.
33:13So true that in a few weeks another piece of news will come out,
33:16that they have to sell.
33:18And everything about the Madrid-Cabaret will be history.
33:20Not to say that you are not accused of anything at the moment.
33:30Jacob, we would like to tell you something.
33:33What?
33:35It's about the local of Seville.
33:36What's wrong with the local?
33:38Well, we think he shouldn't delay his trip.
33:41We are worried that he may lose it.
33:47Do you really think I'm going to leave you alone right now?
33:50Seriously?
33:52Because if that's the case,
33:54you don't know me at all.
33:56Precisely because we know you,
33:58we think it's best for you.
34:00And you're right.
34:02You have nothing against Íñigo.
34:04And the newspapers will end up forgetting us.
34:06What we have to do is,
34:08well, protect Clarita and put up with the weather.
34:11And unfortunately we have experience in that.
34:14So please,
34:16listen to us.
34:18Go to Semilla, look at the place,
34:20and if you like it, make an offer to the seller.
34:22And what will it take? A few days?
34:24He will find us as he left us.
34:26We will not accept a no for an answer.
34:32The truth is that when they agree,
34:34it is very difficult to take the opposite.
34:38Okay, yes, yes, yes.
34:40I'll go to Seville.
34:42The sooner I go, the sooner I'll be back.
34:44Of course, please, I'm asking both of you.
34:48If something happens, let me know.
34:50Please.
34:52Take care.
34:56Do you think going to the police has helped?
34:59But why do you say that?
35:01They have read the letter, they have listened to us,
35:04and they have assured us that they will do everything in their power
35:07to clarify this matter.
35:09Everything in their power.
35:11Yes, even contact the gendarmerie to collaborate.
35:14Do you think the French will admit
35:17that the leak of the pact that César had made has come out of them?
35:23It is better not to get your hopes up.
35:26That gang of criminals has a lot of power, even the police.
35:29Well, Inés, but they have assured us that they are looking for him.
35:33Yeah, but I don't know if that's good or bad.
35:36Why do you say that?
35:38Well, because if they find him,
35:41maybe they will give him to the Marseillais.
35:43If the French police have an infiltrator,
35:46then ours could also have it, right?
35:48No, no, but why do you get into the worst?
35:51Well, because I have a feeling
35:53that I will never see César again.
35:54I didn't know I loved you so much, Laurita.
35:57Come here.
36:05Don Fermín,
36:08I want to tell you,
36:11I want to tell you
36:15that you have a wonderful mustache
36:18and that you look like an archduke.
36:20And that you look like an archduke.
36:44Calm down, please, calm down.
36:48Don Fermín,
36:50Don Fermín,
36:52hello,
36:54I want to tell you that
36:58I have been working here for many years,
37:02the best of my life, I would say,
37:05and that this has become my home,
37:11my home,
37:14and that you are like my family
37:17and that I feel very, very, very, very grateful.
37:24You can't cry, Trini, please,
37:27firm.
37:39Don Fermín,
37:43I have an allergy to the subway,
37:44I have an allergy to the subway
37:47and I have found a chocolate shop
37:51where I could work
37:54and it is very close to my house,
37:57so I could go to work walking
38:00and nothing, that's it, I wanted to tell you.
38:09How do I tell you?
38:15Don Fermín,
38:19I have no allergy
38:21and there is no chocolate shop near my house,
38:25it does not exist, he has invented it for me
38:27and I just wanted to tell you this, that ...
38:30How?
38:32Ah,
38:34yes, of course,
38:36of course,
38:38that you are not believing my explanations,
38:42yes, that you think I'm hiding something from you, right?
38:47Well, I don't know what it could be,
38:49because surely it won't be that I'm married
38:52or that I'm pregnant and that I'm going to be a mother.
39:06Are you sure you don't want to have the meeting here in the office?
39:08No, I prefer that we go out,
39:11take just a moment and so you won't feel intimidated.
39:15You have finally solved your dilemma.
39:18What dilemma do you mean?
39:20Well, that you don't want to abstain from Antonia or Pietro,
39:23but you don't want to give up and break the rule either.
39:26Well, now you will know.
39:33Here you have it, Don Fermín.
39:38And Trini?
39:40She's in the toilet, she's not feeling very well.
39:44I will be brief and concise.
39:50I have in front of me my most veteran employees,
39:53all those who have accompanied me on this adventure since it began,
39:57my most faithful waiters
39:59and my most loyal waitresses.
40:02And your chief cleaner, Maéfica?
40:04True.
40:05And of course,
40:07the best pastry chef you could ever dream of.
40:12Anyway,
40:14thanks to my niece, I have realized that times are changing
40:18and it is ridiculous to look the other way.
40:21So I have made a decision
40:24that will fully affect the squad.
40:28Don't tell me you've thought about retiring, Don Fermín.
40:30Or to transfer the business.
40:32Well, it will be with us inside, right?
40:33Well, if we let him talk, maybe he'll tell us.
40:36Thank you, Teresa.
40:38A little respect, please.
40:40Go ahead, Don Fermín.
40:42I wish I were a wise man, but I am not.
40:45And yet I will allow myself to rectify.
40:49Antonia, Pietro,
40:53this is your house
40:56and you will continue to do so.
40:59The rule by which the employees of La Moderna could not be married
41:03remains the same.
41:05Oops.
41:09He just said what I think he just said.
41:12So, can we keep working while married?
41:16You can and you must.
41:19I congratulate you on this decision, Don Fermín.
41:22I also congratulate you,
41:24although I don't know how it will benefit me.
41:27But how can you not know? You know it perfectly.
41:29Without Pietro and without Antonia, who are you going to fuck?
41:31Who are you going to fuck?
41:35And now, if you'll excuse me.
41:50Yes, I appreciate it.
41:53I'll stop by as soon as I can.
41:58Take care.
42:00Goodbye.
42:04I was watching Jacob leave in a taxi.
42:07I'm glad we convinced him.
42:10Who were you talking to?
42:12With a waiter from Madrid Cabaret.
42:14In the absence of César,
42:16now that they have to take care of the place.
42:18By the way, love,
42:20I've been thinking about going back to work.
42:23Would you agree?
42:25But my love, that's great news.
42:27Congratulations.
42:29But I thought that in La Moderna
42:31married women can't work.
42:34Yes, but I have a proposal for Don Fermín.
42:38It would be, for example,
42:40to organize some kind of events in the upper part of the room.
42:43Like the photographic exhibition
42:45that Laurita and Celia did. Do you remember?
42:47Of course I remember.
42:49Even the writer Luisa Carnés went to visit her.
42:51It was a success.
42:53And what are you thinking about?
42:55I still don't know. I have some ideas,
42:57but I would like you to help me shape them.
42:59Of course I'll help you.
43:02I'm very happy to see you so excited.
43:07Hey, but being busy won't be
43:11because you're bored with me, right?
43:13Bored with you?
43:15With a person who appears in the newspapers?
43:17Impossible.
43:22When all this is over,
43:24we'll start our life.
43:27And you know why?
43:30Because no one will be able to be with us.
43:33Never.
43:47I never would have imagined
43:49that removing that prohibition would cause so much joy.
43:53It's clear that the rules
43:56must arise from common sense, right?
43:59Is something wrong, Mrs. Lázara?
44:02You're not very talkative, let's say.
44:05I'm sorry.
44:07I was finishing writing down the flour order.
44:10By the way, Mr. Fermín,
44:12I forgot to tell you
44:14that I have to take care of a personal matter.
44:17I should have left a little earlier.
44:19You could have left earlier.
44:21Thank you.
44:23I hope that personal matter
44:25is nothing serious.
44:27No, it's not.
44:30Wait a moment, Mrs. Lázara.
44:34If you're not in a hurry,
44:37I'd like to ask you something.
44:45The afternoon we spent together
44:47when we went to the inauguration
44:49of the Toros de las Ventas square,
44:51I found it...
44:53very unpleasant.
44:55And I think, I think
44:56that it was unpleasant for you too.
45:02And yet, since then,
45:04I've noticed that you avoid me more and more.
45:07Tell me if I'm wrong.
45:09Avoid you?
45:11Yes.
45:13What do you mean?
45:15That if you have a problem with me
45:18or I've said or done something
45:20that could have bothered you,
45:22I wouldn't like to know.
45:24No, there's nothing to know.
45:26Well, I think I'm the same as always.
45:29No.
45:31No, you're not.
45:34No.
45:37But well,
45:39I thought that our degree of trust
45:41would allow me to ask, but now...
45:43I see that it's not like that.
45:45Sorry for the interruption.
45:47You can go.
45:52Don Fermín.
45:54I'm sorry,
45:56but you're right.
45:58Since the day we went to Las Ventas,
46:02I'm not the same person.
46:04I've tried...
46:06I've tried
46:08to hide the sadness I carry inside,
46:11but it seems I haven't managed to.
46:16What sadness do you mean?
46:20Can you tell me?
46:22You can tell me if you want to.
46:25I'm not convinced that
46:27this is a good idea,
46:29since...
46:31since it has to do with you.
46:34With me?
46:38I'd better go.
46:40No, no, no.
46:47Please,
46:49go on.
46:51You said that this sadness
46:53has to do with me.
46:57What's going on?
47:02It's very simple, Don Fermín.
47:04It's just that...
47:09I'm in love with you.
47:10I'm in love with you.
47:20No.
47:23No.
47:26No, I don't know what to say.
47:29You have nothing to say.
47:31I have no right to express my feelings
47:34and I apologize.
47:36I understand that you don't feel the same as I do.
47:39I'm sorry.
47:44Don Fermín, I need to talk to you.
47:47I need to tell you something urgently.
47:50If I don't tell you now,
47:52in the end...
47:56I'm leaving La Moderna.
48:08Bye.
48:38Bye.
49:08Bye.
49:35Mother.
49:36Daughter.
49:38Everything is going as planned.
49:41Well, even better.
49:43The circle against the enemy is narrowing.
49:46And against me too, Mother.
49:53When will I get out of here?
49:56Be patient.
49:58I assure you that the sacrifice will be worth it.
50:06I'm not going to hide.
50:08I'm going to face it.
50:10And for that, I'm going to organize a party
50:12to celebrate the reopening of Madrid Cabaret.
50:14The press is helping us corner Íñigo.
50:17I want to finish with Íñigo
50:18and especially with Matilde as soon as possible.
50:21Of course.
50:23We will do it.
50:25But we can't rush it.
50:27Nor lose the cold blood.
50:28Otherwise, everything will go to hell.
50:30It's just that when Antonia and Pietro
50:31meet on the altar,
50:33the most normal thing is that they go to live together.
50:35Antonia considers you like a daughter.
50:37She will surely take you to live with them.
50:39No.
50:40Why don't you ask her?
50:41No, no, no, no, no.
50:42I wouldn't ask her or allow her.
50:43Maybe it's time for me to go on my own.
50:46Don Fermín is waiting for her in his office.
50:48He's been looking for her.
50:49But since he couldn't find her,
50:50he asked me to pass the message to her.
50:52Why didn't he tell me before?
50:53Because he didn't let me.
50:55What a shame, Trini, that you lost it.
50:57Lose what?
50:58Don Fermín has broken the rule
51:00that forbade the dependents from getting married.
51:04But...
51:05But...
51:06When I asked you if your intention was to go to La Moderna,
51:08you mutilated the forum.
51:10Have you already made a decision?
51:12My son Salvita doesn't just need to learn a trade.
51:15He needs to learn about life,
51:17about a man made and right like you.
51:19But wasn't he studying to be a lawyer?
51:21That's a lot to assume,
51:23since he hasn't even passed a miserable subject.
51:27It's all his.
51:28Are you sure Pietro doesn't mind
51:30that I'm wearing the same dress as at the wedding with Ramón?
51:33I haven't told him yet.
51:35But so many things have happened that I'm going to tell him.
51:38Nobody wants to do business with a supposed murderer.
51:41Yes, it's completely unfair,
51:43but understandable that certain people have their reluctance.
51:47That's why I want to reopen.
51:49And now you want me to talk to my own supplier?
51:52Don Fermín, I just need to be covered for the party.
51:55After that night, everything will go back to normal.
51:59Unless you also doubt me.
52:02My heart broke when I heard at the police station
52:05that I was accused of the two homicides of Madrid Cabret
52:08and that I belonged to a criminal organization.
52:11I am the link of the police with the French gendarmerie.
52:14And I have been commissioned to look for César Morel in Spain.
52:18I know very well who you are and the relationship I had with him.
52:21Covering up a criminal
52:23will not bring him any benefit, but quite the opposite.
52:26Don Salvador has asked me to put him on duty
52:28and to teach him about the business.
52:30And you know what that means.
52:32That as soon as you teach him everything, he kicks you.
52:35No, Miguel, we will come up with something.
52:37The truth is that it is wonderful to get you into trouble.
52:40Since when?
52:41Since when I feel attracted to you.
52:45From the beginning.
52:47I'm not leaving here.
52:49Not until Íñigo and Matilde receive their punishment.
52:52But daughter ...
52:53Nothing or no one is going to make me change my mind.
52:55I want to see them dead, mother.
52:57Do you understand?
52:58Dead.