Salón de té La Moderna - Ep 192

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Salón de té La Moderna - Ep 192
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00:00Do you have a meeting?
00:11It smells so good!
00:15It smells better here, really!
00:20I didn't want to wake you up this early, because I arrived late.
00:25Hey, are you okay? You look worried.
00:28Yes, I'm going to talk to Mr. Fermin today.
00:35I'm going to tell him my idea of organizing activities and events in the upper part of La Moderna.
00:40And well, all I have to do is think of the right words to sell the idea better.
00:45I'm very happy that you continue with your idea.
00:49Let's see if it compensates Mr. Fermin.
00:52Of course you will, my love.
00:54With that little bit you have, you can convince anyone you want.
00:58But is that really all that worries you?
01:02Yes, stop worrying about me.
01:04And let's focus on you, you have enough with what you have.
01:08Well, if you mean my new situation as a married man,
01:12the truth is that I wanted to tell you that you don't have to worry.
01:23Ñigo Peñalvera speaking.
01:25Pablo?
01:27Yes, it's Peris, my lover.
01:33Yes, I'm glad, finally good news.
01:37Yes, yes, let's do it like that, of course.
01:40Have a nice day.
01:42Bye.
01:43Bye.
01:44Bye.
01:51Well, it seems that the police is stuck.
01:56And there is no action in progress.
01:58What does that mean?
02:00Well, they're going to leave me alone.
02:02At least for a while.
02:06That's good.
02:07Yes.
02:08That's good because we have to regain peace in our lives.
02:11Yes, we and also in Madrid, Cabaret, of course.
02:17How are the preparations going?
02:19There is little left.
02:21Belmonte and La Piquer have already told me that they will not attend.
02:24But I understand it because they are out of town.
02:28And many others have dedicated themselves to lying to me,
02:31to giving me excuses not to come to the party.
02:35Love, trust.
02:39Surely in the end they come to support you.
02:48I'm going to serve.
03:09I see that you are reviewing the painting of the tables.
03:12Yes.
03:13Well, as you asked me.
03:15If you allow me.
03:19Excuse me.
03:23And well?
03:25Well, yes.
03:26Yes, you were right.
03:28Many tables need a painting hand.
03:31If you allow me.
03:38Excuse me, Mrs. Lazara, but you have me confused.
03:44Sorry.
03:45Well, don't worry.
03:47I'll make you a report and I'll take it to the office later.
03:50No, that's not it.
03:52It's just that after you made me know what you made me know,
03:58what you made me feel for me,
04:01I don't know how to behave with you.
04:03Please, Mr. Fermin.
04:05I don't remember that stupid mistake.
04:08It was inappropriate. Let's forget it.
04:10But how can I forget it?
04:11I have the feeling that I'm running away all the time.
04:13No, no.
04:14I'm not running away.
04:16What happens is that I'm trying to mend my mistake.
04:20I'm trying to return to normality,
04:23to regain that good harmony between you and me,
04:26always in the workplace,
04:28but I see that I'm not getting it.
04:30Well, excuse me.
04:31Mrs. Lazara, I didn't want you to feel bad either.
04:35For God's sake, Mr. Fermin.
04:36I'm the one who has to apologize.
04:37You're right.
04:38Let's normalize the situation.
04:40We're looking at the tables that need painting, right?
04:44And according to you,
04:45which ones need a second coat of paint?
04:49That one.
04:51That one.
04:53Yes.
04:54Yes, the legs are damaged.
04:58Any more?
04:59Yes.
05:00This one here.
05:03Here.
05:12Here, if you see, you need paint.
05:15Yes, you're right.
05:17Again, yes, you need...
05:23You have a very good eye, Mrs. Lazara.
05:26Yes.
05:27Well, I'm just trying to do my job well
05:29and it's really easy with you.
05:31We understand each other too, Mr. Fermin.
05:34Sorry, no, I'm sorry.
05:36I didn't mean to insult you.
05:40No, no, no.
05:41Look.
05:42I'm sorry.
05:43I'm sorry.
05:45No, no, no.
05:46Look.
05:47I understand you perfectly, Mrs. Lazara.
05:49We're talking about the tables that need painting.
05:52It's not that.
05:53You said it yourself.
05:54We have to normalize the situation.
05:56Thanks to that, you're very understanding.
05:59Then I guess I have to wait for you to finish the day.
06:05You have to wait for me to finish the day?
06:08For what?
06:09For what?
06:10Oh, sorry.
06:11No, I mean...
06:12I mean, I'll wait for you to give me the report
06:15with the total number of tables that need painting.
06:19The report.
06:20Of course, I'll take it to the office.
06:24If you'll excuse me.
06:40Here.
06:41Eat something.
06:42I'm not hungry, Laurita.
06:44Inés, you haven't eaten anything these days.
06:47You have to eat to face the day.
06:50What's wrong?
06:51Can't I decide for myself now?
06:53When to eat, when to go to the doctor, or anything?
06:55We're dealing with the same thing again.
06:57Do you think it's normal for the guy to schedule a date with the doctor behind my back?
07:01Inés, you say it as if the guy had scheduled a date with any doctor.
07:05And he hasn't.
07:06He's done it with an eminence.
07:08With the best otorhinolaryngologist.
07:10Are you going to visit a lot of singers or not?
07:12I'm fine with them, but I'm not going.
07:15Inés, don't you think you're behaving like a child?
07:19If you treat me like a child, I'll behave like one.
07:23Okay, let's talk like adults.
07:27What's wrong with you is that you're afraid and I tell you that you can't sing again?
07:33Well, yes.
07:35Yes, I'm scared to death right now.
07:40What if the doctor tells me that I'm not going to recover?
07:43And that I'm going to stay like this forever?
07:46But that's getting worse.
07:49Yeah, but it could happen, right?
07:51My life would change completely and after everything that's happened to me with César, well...
07:57We're not talking about that anymore.
07:59We're talking about you.
08:02Yeah, well, that's why right now I don't have the strength to face a negative diagnosis.
08:08First of all, the diagnosis doesn't have to be negative.
08:12And if it was, I'm sorry to be direct, but the sooner you know it, the better.
08:18You wouldn't be the first to reinvent yourself.
08:20But reinvent myself by doing what?
08:23Well, I don't know, you'll find something you like.
08:26Besides, you're not alone. You have me and your uncle.
08:30I'm going.
08:38Yes?
08:42Inés, it's your uncle.
09:00Uncle.
09:03No, no, you don't have to come with me to the consultation.
09:07No, really, it's not an excuse.
09:10Yes, I'll go, but I'll go alone.
09:13Okay, yes.
09:14Yes, thank you for understanding.
09:17Goodbye.
09:20Are you sure you're going to be alone?
09:22Yes, very sure.
09:30And how are the preparations for the duet?
09:32Don't move!
09:33I told you to stick the thread when I'm not present.
09:37What are you waiting for?
09:38Trini, are you eating for two?
09:41I'm hungry.
09:43Too much, I would say.
09:44Come on, sit down.
09:46Sit down and learn.
09:48That getting up to date with your colleagues' things is also part of the job.
09:53Well, while I'm chatting, I don't have any orders.
09:56Hello.
09:58Now, Antonia.
09:59What?
10:00How's the wedding going?
10:02Well, it's going slow, but it's getting closer every day.
10:06Pietro is waiting to talk to his son, who wants him to be the godfather.
10:09Ah, Giancarlo.
10:11With what he pretends to be.
10:12I want to meet him.
10:13And me.
10:14Let's see if there's luck and I can talk to him today.
10:18Well, how's the guest thing going?
10:20Oh, do I have to take the dress out of the closet, yes or no?
10:23Yes, of course.
10:24Because I fixed it for Matilde's wedding, so I can take advantage of it.
10:27Well, of course, ladies, here you are.
10:29You're all invited.
10:30Well, all of you are, of course, of course.
10:32And I've also sent some telegrams to some of my cousins.
10:36But I still don't have an answer, of course, very soon.
10:38Oh, Antonia.
10:39From your relationship with Pietro, from the most brief, to preparing the wedding for the race.
10:45That's it?
10:48That's it, Trini.
10:49You've been silent.
10:51You have to speed up the wedding, right?
10:53And forget about the problems.
10:55Well, Antonia, do you already have the bride's dress?
10:57Well, some idea, yes, I have, yes.
11:00Some idea.
11:01But if that's the first thing a bride has to think about, for God's sake.
11:04Oh, I don't want to overwhelm them.
11:05But it's just that you should have already thought about the flowers you want to put on, the bouquets.
11:11I know.
11:12Well, thank goodness you didn't want to overwhelm me.
11:13Well, overwhelm that woman.
11:15Because, come on, with the age you have, she won't get married anymore.
11:17And you still don't have the godparents.
11:19No, he does have godparents.
11:21Giancarlo.
11:22What he's missing is the godmother.
11:24Well, look, I have that too.
11:26Are you going to be Esperanza?
11:28Or not?
11:31Me?
11:50Hello.
11:52Excuse me, you are Celia Silva, right?
11:56Yes, it's me.
11:57Perfect, let me introduce myself. I am Íñigo.
12:00I know who you are.
12:02Unfortunately, your name appears a lot in the newspapers.
12:06Well, then you don't know who I am.
12:08You know what they say about me, not everything is true.
12:12Among other things, they say that you are involved in the death of Doña Carla.
12:15Is it true or not?
12:17Well, the press assures many things.
12:20Look, until years ago, a newspaper said that there were beings living on the moon.
12:24And you believe that?
12:25Because it came out in the newspapers, I can assure you.
12:28But if a fantasy like that comes out on the cover, who tells us that other things are not?
12:36But well, I have not come here to talk about journalistic rigor.
12:39If you allow me, I will explain the reason for my visit.
12:42Listen.
12:44Look, tomorrow I want to reopen Madrid Cabaret.
12:48And as you know, my business has also come out in the press.
12:53Because of a shooting that there was, yes.
12:55Exactly.
12:56I need everyone to forget that happy incident and see Madrid Cabaret as it is.
13:01A safe place where everyone can have a good time.
13:04That's why I want to do that party tomorrow.
13:06And I need your help.
13:09Don't you want me to make money?
13:11Because I already tell you that singing is not my thing.
13:14No, of course, I'm not going to ask you to sing.
13:16What I need is that you help me spread the event.
13:20Don Fermín has told me very well about you and that you have very good contacts in the press.
13:25And I'm sure you will know how to listen to her.
13:30I would pay you very well, I can assure you.
13:33Thank you.
13:40I'm sorry, but I'm not going to do it.
13:50Look, I know we don't know each other.
13:53But if your requests to work with me are due to that murder of Mrs. Carlos,
13:59I can tell you that I have nothing to do with that.
14:04Well, thank you very much for attending me.
14:06Have a nice day.
14:18In case I change my mind.
14:29Oh, Marta.
14:31Esperanza, for God's sake.
14:32I thought you were going to get excited and go and give her a soponcio.
14:35Oh, for God's sake.
14:39Think about your dress.
14:40In your expensive dress that you are finally going to take him out for a walk.
14:43Oh, Trini.
14:44It's just that I've never been a godmother.
14:46Never?
14:48Not even in the village they chose me to go out to the dance.
14:50Oh, what courage.
14:52Well, as long as I don't dance at the altar.
14:54Oh, don't dance.
14:55But I had given her a kiss.
14:58And what are you going to do after the wedding?
15:00Where are you going to live?
15:02Well, we only have that pending yet.
15:04Because my house is small and Pietro's is even smaller.
15:07So, well, we'll see.
15:11Well, Esperanza, I'm going to go get the cleaning products.
15:15I'll ask Mrs. Teresa for the money.
15:18Yes, go, go.
15:21It's just that she's a pain in the ass.
15:23From Rocha, Lejía ...
15:25I'm going to Tajo too.
15:27Bye.
15:33What's wrong with Marta?
15:35Yes, yes.
15:36Don't tell me anything because I've seen how they looked at each other.
15:38And a godmother can't lie to her girlfriend.
15:41Tell me.
15:51Inés.
15:52César.
15:54César, are you okay?
15:55I can't believe it, but are you okay?
15:57Did you receive the letter I wrote you?
15:58Yes, yes, of course, of course I received it.
16:00Well, then you already know everything you need to know.
16:03The Marseillais' clan was looking for me.
16:05Because I knew they were going to report you.
16:06That's why they came to Alameda y Cabaret.
16:08César, my God, where are you?
16:10You're hurt.
16:11I'm fine.
16:12No, you're not fine.
16:13You're not fine.
16:14I've made many friends here.
16:15Among them, a very discreet doctor who cured me without asking any questions.
16:19César, why didn't you tell me?
16:21My God, I was very worried about you.
16:24Inés, I was watching you to find the best time to talk to you.
16:27But it was impossible, you were always with me.
16:30In any case, I've already hurt you too much.
16:33I didn't want to leave without telling you that I love you.
16:35Go away.
16:36No, no, no.
16:37Go away, César.
16:38Go away.
16:44There's no way to be the owner's son.
16:47Good morning, Alvita.
16:49I don't know if they teach this at the university,
16:51but when the big needle is at twelve and the little one at eleven,
16:54that means exactly that...
16:56It's very early.
16:58Horribly early.
17:00You're right, Miguel.
17:01I'll talk to my father.
17:02It's a torture that this bookshop will open so soon.
17:05Quiet, quiet, quiet.
17:06Don't get your father involved in this matter,
17:08or we're going to have a problem, you and me.
17:11I'm going to talk to my father.
17:12Quiet, quiet, quiet.
17:13Don't get your father involved in this matter,
17:15or we're going to have a problem, you and me.
17:17May I know why you're so late?
17:20I ran into an old lady who was coming back from the market,
17:23and I saw myself in the obligation to help her.
17:25And of course,
17:26I also saw myself forced to accept her breakfast,
17:28which was old, she had no choice but to offer it to me.
17:30The Chinese stories section is on that shelf, sir.
17:33Look, Salvita, who studies law,
17:35lies are not good for a lawyer.
17:38May I know where you're coming from?
17:40The truth.
17:41You've already told me all the lies.
17:43From a hangover to the tits with my tuna friends.
17:47Ah, very good.
17:48So you come to work without sleeping.
17:50And without breakfast.
17:52I'm going to go to the living room to have a drink, okay?
17:54If you'll excuse me.
17:55Quiet there.
17:57Your father doesn't go to that living room.
17:59I was missing him.
18:00I see you there in working hours.
18:02Do you see this?
18:03It's a rag,
18:04and it's used to clean.
18:06And these are books,
18:07and you have to get the dust out one by one.
18:10And the exhibitors too.
18:11You have to empty them, scrub them, and fill them again.
18:13Are you sure you need to clean all the books?
18:17I see them well like this.
18:18Also,
18:19that they have a little dust, they love it, huh?
18:22Yeah, sure.
18:23But to get the hands of the customers dirty,
18:24it takes away all the magic.
18:25So,
18:26I'm going to clean.
18:32New piece.
18:39Let's go.
18:49It would be better if your uncle didn't see me with you.
18:51No, no, don't go, please.
18:52Listen to me.
18:53Don't leave me like this.
18:54Tomorrow afternoon, in the park.
18:55I have something very important to tell you.
18:58Inés?
19:00Inés?
19:01What a coincidence!
19:03Honey.
19:06Is everything okay, honey?
19:07Everything's fine, everything's fine.
19:08Are you sure?
19:09I'm sure.
19:10Because it doesn't seem like it,
19:11and you know it's very difficult to deceive your uncle Fermin.
19:15You're nervous, aren't you?
19:16Because you're going to the specialist.
19:18Uncle, what are you doing here?
19:20And don't tell me this meeting is a coincidence,
19:21because it isn't.
19:23No, no, it's not a coincidence.
19:25And what do you want me to do?
19:27I know you prefer to go alone to the consultation, but...
19:30But I'm not calm
19:31if I let you go through all this alone.
19:35Uncle, please, can you hug me?
19:37Please.
19:39Of course, honey.
19:41Come here.
19:43Everything's going to be fine.
19:45You'll see how the doctor says that everything will be solved,
19:47because everything has a solution, honey.
19:49Everything.
20:07Come on.
20:37Come on.
21:08Have you hurt yourself, miss?
21:10Who left all these books here?
21:12I almost killed myself.
21:14I see you have the same version of the books as I do.
21:19You're very loaded.
21:21Take a break, woman.
21:23Come on, I'll help you get up.
21:25I can get up on my own.
21:26You've done enough pulling the floor.
21:29You have beautiful eyes, did you know that?
21:32It's a shame you can't see what's in front of you.
21:35It's useful to see what's in front of you.
21:38That's a good one.
21:39On top of you almost killing me, you're laughing at me.
21:41What's that noise?
21:42What's going on here?
21:44It looks like you've expanded the bookstore.
21:46Now, to buy a book, you have to pull the floor.
21:49Excuse the boy, it's his first day.
21:51And he still doesn't understand what his job is,
21:53or what time to get there, or anything.
21:56Talk to Naki, I know.
21:57He's going to give him some orders that will make everything very clear.
21:59If you know those orders,
22:02could you show them to me?
22:04What do you think about going in this afternoon?
22:05We'll have a drink.
22:07I haven't helped you before, have I, Miguel?
22:10On top of being funny and all that, you're a smartass.
22:13Don't get mad, woman.
22:16My name is Salvador.
22:17But you can call me Salvita.
22:20And you, what's your name?
22:21You don't care if you call me that.
22:25For God's sake, half of the 98 generation is on the floor.
22:28I'm telling you, these aren't good times to know.
22:31Go.
22:32Pick up all this right now.
22:33And don't hang the jacket there.
22:40Celia,
22:42I'm having a great time.
22:43My uncle has rejected all my proposal.
22:45About the Tertulias?
22:47Yes, he wanted to take advantage of your contacts
22:49to attract the most interesting intellectuals to our Tertulias.
22:53A perfect idea.
22:54And what's the problem?
22:55Well, I've mentioned to him the option of bringing controversial personalities
22:58to attract the press.
23:00I see.
23:01And what controversial characters are we talking about?
23:04Alfonso Vidal and Planas, or Bahia and Clan, for example.
23:07But why?
23:08Well, because he thinks it's not good for us to be associated with people like that.
23:15I see.
23:22What's wrong with you? Are you okay?
23:25Before, Iñigo Peñalver has been here.
23:28He also wanted to take advantage of my contacts in the press
23:31to promote a party he wants to have in Madrid Cabaret.
23:35But I told him no.
23:37Why?
23:38Because I don't want to have anything to do with a murderer.
23:42Celia,
23:43it's not that I know a lot about Iñigo
23:45and I don't know what you've read,
23:47but I assure you that both my uncle and I are sure he's not a murderer.
23:51And Inés doesn't either, she always speaks wonders of him as a boss.
23:54Yeah, well, but being a good boss doesn't mean you can't kill.
23:58Look,
23:59do you remember a few months ago that they put some bombs in La Moderna?
24:02Yes.
24:03Well, if it weren't for Iñigo and Matilde who risked their lives and deactivated them,
24:07well, we wouldn't be here today.
24:10I didn't know any of that.
24:11Yeah.
24:12It seems that the newspapers have also forgotten, I don't know.
24:14Maybe they sell more a killer headline than a hero one.
24:17Don't listen to what they say.
24:19Celia,
24:20if Iñigo asked me for help, I would give it to him.
24:24And now I'm going to see how everything goes,
24:26because we never finish this step.
24:50The next day
25:02What a day full of management we have.
25:06Yes.
25:07Then I will send the lawyers of the Morcuende group
25:10a copy of the rent contracts of the apartments and premises in Seville.
25:14I want them to review the clauses and the...
25:17and the conditions for a renovation.
25:20I thank you so much for helping me with these matters.
25:24As soon as I start reading those papers,
25:26all the letters get mixed up and I don't understand anything I read.
25:29Well, don't exaggerate.
25:31And it's not a nuisance.
25:32If I tell you the truth, it even entertains me.
25:35You manage everything as you see fit.
25:38I just ask you to send me a copy of all the contracts.
25:41Maybe, by force of reading them, I'll start to understand them.
25:46Okay, I'll send you a copy and I'll keep you informed.
25:52How simple is everything by your side.
25:54You can't imagine how much I need you.
25:57I couldn't go through that trance if it weren't for you.
26:02I know these are very delicate moments.
26:04That's why I want to be aware of you and help you in everything I can.
26:07And you do it.
26:08Reading those contracts for me,
26:10providing me with your help.
26:13What would I do without you?
26:14No, no, no, no.
26:15What would I do without you?
26:17And don't worry.
26:18Really.
26:19I assume with great pleasure,
26:21and in your name,
26:22the management of the affairs of the Morcuende Company
26:25and all the time you think necessary.
26:28You'll say I don't know what to do to keep you by my side, right?
26:32Well, I don't need excuses.
26:34And it's not hard for me, I insist.
26:36I understand that you are not familiar with what it means to manage a company.
26:41Because...
26:43Besides...
26:46Besides what?
26:49I don't think it's easy for you to sit in that office.
26:53Handling matters that Carla was in charge of until recently.
26:58It has to be very painful.
27:01You don't know it well.
27:02You don't know it well.
27:04You have described perfectly how I feel.
27:08How it shows that you know me.
27:10Thinking of Carla breaks my heart.
27:18Yes?
27:20Do you allow me, Mr. Fermin?
27:22Wow, Mrs. de Peñalver.
27:24Come in, Matilde, come in.
27:27You know that you are always welcome here.
27:30I appreciate that you allow me to steal a few minutes of your time.
27:32Well, you have something to propose to me and I am delighted to receive it.
27:35Sit down, please.
27:38What I regret is not having you here.
27:40Every day in the living room, with all the energy you transmit.
27:44Related to that, they have already informed me that the norm of married women no longer exists.
27:49I'm glad I finally made that decision.
27:51Yes, I'm glad too.
27:52What I'm not glad about is not having seen it so clearly long before,
27:55when you were still working here with us.
27:57Well, I know that at that moment I began to value it.
28:00And that's enough for me.
28:01Times change.
28:03If you don't want to stay behind, you have to get on the train as soon as possible.
28:06Yes.
28:08Well, Matilde, tell me, I'm eager to know what you want to propose to me.
28:14What would Mr. Fermin think if I was in charge of organizing events and events in the living room?
28:21Events and events? What kind?
28:24Meetings between businessmen.
28:26Meetings would be at the top of the living room,
28:29taking advantage of the fairs and business conventions that are organized in the city.
28:35I must admit that at some point I considered organizing something similar,
28:40but I ruled it out.
28:42In fact, not long ago we organized a cultural event on the upper floor,
28:46but we have decided not to continue with it.
28:49Yes, but the approach I propose is different.
28:53It would be aimed exclusively at the business sector.
28:57I see.
28:59Give me some time to think about it.
29:01And I'll give you an answer soon, I assure you.
29:04Very well.
29:05Thank you, Mr. Fermin.
29:08Matilde, by the way, I don't know if your husband has told you that I was at his house yesterday.
29:14Yes, he told me something.
29:16Yes, he explained to me how bad it is with the pressure of the press and the police,
29:20and of course, that they accuse him of murder.
29:22In the eyes of everyone, it must be hard.
29:24Yes, it is, of course.
29:27Well, I saw it with great interest.
29:31And you, Matilde?
29:33How are you doing?
29:35Well, it's been painful and complicated.
29:40I'm not going to lie to you, the pressure affects me.
29:42But I know who I'm married to.
29:47And I know what Iñigo is capable of and what he is not.
29:51I am very happy that we are taking a walk because there is something I want to tell you.
29:57I finally have a plan.
29:59Let's see, what lies are you talking about now?
30:01Why should we lie?
30:02Because that's what we've been doing for months.
30:05Well, with this plan, we shouldn't lie. With this plan, no lies.
30:08Well, at first we would have to say one thing or another, but then not anymore.
30:14Because we are going to start my plan.
30:17The Cupid plan.
30:18Cupid?
30:20Don't tell me we have to make someone else fall in love.
30:22Because if that's the case, I'll leave the books, I'll leave the cards and we'll open a marriage agency.
30:26No, my love, we shouldn't make anyone fall in love, just ourselves.
30:30But I'm already in love with you.
30:33Or have you stopped loving me?
30:34Well, I don't know, I'm starting to think about it, if you don't listen to me.
30:37Do you want to hear my plan or not?
30:38Yes, of course.
30:40For the Cupid plan to work, you have to act coordinated.
30:45And if everything goes well, it doesn't have to fail.
30:48It will fail, you'll see, all our plans fail.
30:51The Cupid plan consists of three phases.
30:53I don't know, I was already saying how easy this was going to be for me.
30:56For the Cupid plan to work, you have to go through the phases one by one.
31:00And we can't move on to the next phase without having completed the previous one.
31:03But can you tell me where all this madness comes from?
31:06Well, it occurred to me today while I was listening to Marta.
31:09Ah, very good. We are going to base our entire future on what that girl says.
31:12Exactly.
31:13And do you think this Cupid plan is going to work out well?
31:17I don't know.
31:18Can you hear me? Do you want to hear the plan or not?
31:20Yes, yes.
31:22First phase of the Cupid plan.
31:24Falling in love.
31:26We will have to pretend that we are in love and that we are committed in record time.
31:32Record.
31:41And well, as Antonia already told you, it worked.
31:44Well, in record time it will be about his commitment, why not?
31:47About his falling in love.
31:48You knew for years that Pietro made Antonia jealous.
31:51Step number two of the Cupid plan.
31:53The fake wedding.
31:56The fake wedding?
31:57Yes.
31:58What if we repeat ours?
31:59Do you have money to repeat ours?
32:01No.
32:14Phase three of the Cupid plan.
32:16We are going to tell that we are going to be parents.
32:24And that's it. All a success. Cupid plan. All a success.
32:27Isn't it easy?
32:28Yes, yes. Seen that way, it seems easy.
32:30Let's see how we manage.
32:32Well, of course. With the first phase, falling in love, you know.
32:35And if not, well, look.
32:36If we need help, Cañete can be our accomplice.
32:40Ah, of course. Yes.
32:41In that of lying, we have trained Cañete well.
32:44The only thing we have to do, love, is pretend that Cupid has done his thing
32:48and that we have found love where no one expected it.
32:51I fall in love with you, miss, once and for all.
32:58Phase four of the Cupid plan.
33:29Isn't Miguel here?
33:33He hasn't come back yet. He's gone to eat.
33:37Talk to me about you, kid.
33:39I think you and I are going to see each other a lot more from now on.
33:42Aren't you Don Salvador's son?
33:44The original and intransferable, the same one who dresses and walks?
33:47Salvita.
33:49Don't we know each other?
33:50Yes, no, no and yes.
33:53Well, we are getting to know each other now.
33:55You know that I have seen you in the gallery and in the tea room,
33:58always accompanying your father.
33:59Well, I am the head of the waiters on duty.
34:02Well, at the moment I am a temporary waiter,
34:04but my promotion is imminent.
34:05Elias, I introduce myself.
34:07Here to serve you, always diligent.
34:10Well, I figured Miguel would have told you a lot about me.
34:13Long and tender.
34:14Elias.
34:15Yes.
34:16I don't think I mentioned it, did I?
34:18No, how discreet Miguel is.
34:20Well, I am one of his best friends.
34:22And well, I am his assistant in his other job.
34:26Yes, because in this life, Salvita, I am going to give you some advice.
34:29You have to prosper, you have to thrive.
34:31As if you have to have another job.
34:32I have been a sandwich man since I am here.
34:35His other job?
34:37Yes, of course, of course.
34:39Let's see, this is not going to come out of here, because Miguel is very discreet.
34:42But apart from being a bookseller, he is a salesman.
34:44Well, I would say representative.
34:46He has a prestigious brand of bundles called La Fajete.
34:51Since you are a well-read guy, I imagine you will find it useful, right?
34:54No, I'm not very good at the subject of bundles, to be honest.
34:57Ah, no? Well, you are lucky that there are two hands of an expert.
35:00Because you will have noticed the numerous calls that Miguel receives throughout the day.
35:06I know he takes the bundles out of his hands, hey.
35:08What a business.
35:09That the phone does not stop ringing.
35:11Yes, but ... I thought it was to order books.
35:16But let's see, Salvita.
35:18What have you not understood from Spavilar?
35:20That it is not from the books, that it is for the bundles.
35:22Well, bundles and courses.
35:23As they say, bundles, La Fajete.
35:26In whose interior anyone gets in.
35:28To be handsome and, above all, more majete.
35:33Well, aren't you interested in a bundle of gentlemen?
35:35Because I also sell them.
35:37It is that Miguel's business is not the same, if not thanks to me.
35:40Because I have made a propaganda there where I go.
35:43No, no, yes, I see it.
35:45So what? Are you interested in a bundle of gentlemen or are we not going with a course today?
35:57Carla, please.
35:59You can't go on like this. You have to eat well.
36:02I'm not hungry.
36:04Your stomach is going to close, daughter.
36:06And you're going to get sick.
36:08Let's see what I do with you here.
36:10Locked up and sick.
36:12I'm able to feed you myself.
36:14Like when you were little.
36:16Please, mother, don't be ridiculous.
36:18You never fed me, that's why I had the maids.
36:21Besides, I'm not hungry.
36:26My life.
36:27There has to be something I can do for you.
36:32Yes, you're right.
36:34Bring me the newspapers.
36:37Here, so much time locked up, there is nothing to do.
36:39Well, at least that's how I entertain myself and see what happens out there.
36:42Okay, I'll bring you the press.
36:45But eat, you have to eat.
37:10So you're in the dunes.
37:12Well, then it's obvious, Salvita.
37:14Obvious, white and in a bottle.
37:16This is very clear.
37:17A strip, the strip is going to come to suck you up.
37:19Because of course, with everything you're standing on,
37:21the time you spend, those kidneys, come on.
37:23And it's going to make you a well-styled figure.
37:25A cinematographer's figurine.
37:27Come on.
37:30Then I'll take care of one and then I'll bring you the press.
37:32Good afternoon.
37:33Good afternoon, Don Salvador.
37:34Son.
37:35Miguel?
37:36He's gone to eat and hasn't come back yet.
37:38Wow.
37:39I came to ask him about your behavior today,
37:43but it seems that he is going to be the one who asks for explanations.
37:47It's late.
37:52Don't move, son.
37:54Don't let it exhaust you.
38:00The letters' pen.
38:01Tell me.
38:03Sorry?
38:05Fajas la fajete.
38:08No, no, sorry.
38:09He must have made a mistake, no, no.
38:11It's not here.
38:12I'm sorry.
38:14Yes, I'm sorry, Don Salvador.
38:16Yes, tell me.
38:19Yes, yes, one moment.
38:20Can you write it down, please?
38:22Yes, fajas la fajete, tell me.
38:24Of course, an order right now.
38:26Yes.
38:27Two fajas and a corset.
38:30In the name of ...
38:31Write it down, Don Salvador, please.
38:33Ángel García Gómez.
38:36Yes, yes, with pleasure.
38:37We are waiting for you here, of course.
38:41This is intolerable.
38:42But hey, what's intolerable?
38:43Don Salvador, if it's a sale,
38:45what are you doing here?
38:46Let's see, Elías, what are you doing here?
38:48I already know, I already know, Don Salvador.
38:50If it is that I have to get out of the bar,
38:52and I really look like a completely different man.
38:55If you don't recognize me.
38:57Well, I'm going to go to work,
38:59because work claims me.
39:01If you can do me a favor and tell Miguel
39:03that I have achieved a sale of two fajas and a corset.
39:06They are so kind.
39:08Ángel García Gómez.
39:11Two fajas and a corset.
39:15Because I have to go,
39:16because if not,
39:18you don't say a word about this, Miguel, okay?
39:21I'll talk to him tomorrow about all this,
39:24about the fajet.
39:26The fajete, father.
39:28Fajas and corsets.
39:33Okay.
39:38I'm in love with you.
39:40Please.
39:41Don Fermín, don't remind me of that embarrassing mistake.
39:44It was inappropriate, let's forget it.
39:46But how can I forget it?
39:48I have a feeling that I'm running away at any moment.
39:50No, no, no.
39:51I'm not running away from you.
39:53What happens is that I'm trying to amend my mistake.
40:03Don Fermín, excuse me.
40:05I saw you leaving with Mrs. Lázara this morning
40:07and I think you have something to tell me about it.
40:11Teresa, I consider that what I leave
40:13or stop leaving with Mrs. Lázara is a personal matter
40:16that I have no reason to share with you.
40:19But if I ...
40:20Besides, what do you know about it?
40:23No, nothing.
40:24There are some tables that need to be painted,
40:26but I don't know exactly what they are.
40:28Excuse me, but I didn't think it was a personal matter.
40:32Well, it is, Teresa.
40:34It is.
40:35Because it is a matter that concerns Mrs. Lázara.
40:37So please, don't get me wrong.
40:40But if you excuse me, I have to go back to the office.
41:01I'm sorry.
41:07You've already messed it up, haven't you?
41:10Sit down, Marta, please.
41:16Antonio has spoken to Esperanza.
41:18Come on, he's messing up my job, not here.
41:22Esperanza told me you're looking for a room in a boarding house.
41:25Don't go telling the secrets of others.
41:27You don't know that command.
41:29Marta, if that's what you want, go ahead.
41:33But it's not what we want, honey.
41:35Our intention is that you live with us.
41:38That the three of us live together.
41:40Like a family.
41:42That's it.
41:44You are our daughter.
41:46Do you understand?
41:48Our daughter.
41:51I thought I was bothering you and ...
41:53What are you going to bother, honey?
41:55Come here.
42:00The only thing is that we have to find a more comfortable place for the three of us.
42:05It's just that my house is smaller than that.
42:08But the important thing is that the three of us are together.
42:15Do you know what I'm telling you?
42:16That right now I'm going to go to Colmado and I'm going to prepare a dinner for the three of you.
42:30Do you see what a good idea it was?
42:32With afternoons like this, I don't feel like going to the boarding house.
42:36Yeah, it's very good.
42:38And besides, if you come to get some fresh air after work, it seems that you forget your worries.
42:44Worries that I don't want to take you home?
42:48Well, my big worry right now is Mrs. Lazara.
42:52Have you ever done one of yours again?
42:54Not to me.
42:56But I'm worried about Mr. Fermin.
42:59Let's see, it's clear to me that she's looking for something in him.
43:02But I'm starting to think that he's also looking for something in her.
43:06But why do you say that? Have you seen anything?
43:09Well, if you look this morning in the living room, they were each at one end and looking at each other.
43:14And then they were talking about something that I haven't heard, of course, but it seemed personal.
43:19Do you think Mrs. Lazara and Mr. Fermin ...?
43:21No, I don't know.
43:23But in the afternoon I went to talk to Mr. Fermin, because there are some tables that need to be painted in the living room.
43:28And he has thought that I was going to ask him about his conversation with Mrs. Lazara.
43:32And of course, don't you see how he has gotten?
43:34As if I were asking him about, let's say, the most intimate thing in the world.
43:43Well, yes, we would have to talk about wedding things, right?
43:48Like, for example, Jean-Carlo.
43:53Do you know if he's going to be able to come at the end?
43:55Not yet.
43:57Although being realistic, I don't think we can count on Jean-Carlo.
44:01I'll have to think of someone else as a godfather.
44:06I wanted to tell you ...
44:08And you?
44:09What?
44:10Have you thought who could be your godmother?
44:12Oh yes, yes, yes, I've already told Esperanza.
44:14It's a joke, right? It's Spanish humor that I still don't understand.
44:19No, it's not a joke.
44:22She said it, you don't know how excited she is.
44:25As it's not a joke, I don't want Esperanza as a godmother.
44:30Why?
44:31But Pietro ...
44:33Well, you get along a lot, but you have affection too.
44:36Yes, Antonia, we have affection.
44:38It can be funny at work, but it takes me from arm to arm, right?
44:43Please!
44:45This woman would be able to get food in front of the priest and the guests.
44:49Aren't you exaggerating a little?
44:51No, I'm not exaggerating, Antonia.
44:53Esperanza is not indicated.
44:55Pietro ...
44:56No, no, no.
44:58Don't try to convince me, Antonia, because you won't get it.
45:03I'd better go.
45:05I'm sorry.
45:07But ...
45:09Pietro!
45:13What do I tell this man now?
45:17Lázaro and Don Fermín?
45:20I would never have thought it.
45:23Well, I hope this stays between you and me, I don't want the rumor to spread.
45:27But well, after all, I don't have proof.
45:30They are just my speculations.
45:32I'm sure they are, Teresa.
45:35Whether you like it or not, they are two people who have spent a lot of time together.
45:39And now they even share an office.
45:41It is normal for a certain complicity to be created between them.
45:44I'm sure that's all.
45:46Well, I've been working hand in hand with Don Fermín for years
45:49and I assure you that I've never looked at him like Mrs. Lázaro looks at him.
45:52And how does Mrs. Lázaro look at him?
45:55Well, with desire.
45:57As if he were the most handsome man on the planet.
46:01Well, as people who like each other look at each other.
46:05Why are you looking at me like that? Do I have something?
46:07No, you don't have anything.
46:09No?
46:12I say that maybe Mrs. Lázaro looks at him like that because he wants to earn his trust.
46:16No, Cañete, no.
46:19I'm sure Mrs. Lázaro is looking for something else in him.
46:22You'll see.
46:35Well, this morning I didn't have them all with me.
46:38I went to see Celia Silva, the photographer.
46:43Laura's friend, do you know her?
46:44Yes, her partner in the store.
46:47Well, it turns out that she also works as a press agent.
46:51And well, at first she didn't want to help me, but I had to think about it better
46:55because she called me saying that she accepted my proposal.
46:57So she's going to help me spread the Madrid-Cabaret event through the press.
47:03And to be able to do it, there's not much time left.
47:05Yes, yes, I trust her.
47:07In addition, it turns out that she has already contacted Fortuna, the bullfighter.
47:11And she's also going to contact other personalities who don't want to tell me who they are
47:15until they tell me if they're coming or not.
47:17Wow, well, it does seem efficient.
47:19It is.
47:21And well, for my part, I'm trying to contact Celia Gámez,
47:24but I can't get her to put on the phone.
47:27She would be a good claim.
47:33It's good that everything is going smoothly.
47:39Sorry, my love, that sometimes I end the conversation.
47:43And you, how are you? Any news?
47:46Yes, yes. Jacobo called.
47:49He's still in Seville and it seems that he's going to reach an agreement to buy the place.
47:53Look, I'm glad, finally some joy.
47:56Yes, and the place is wider and more beautiful than it seemed in the plans.
48:01Even the waiters have told him that they want to continue working there with him.
48:05And have you told him if he can come to the party?
48:08No, he won't be able to, because he has the signature of the contract.
48:11Oh, what a shame.
48:17And well, tell me, how about Don Fermín?
48:20Did he say anything about your proposal?
48:22Well, I don't know.
48:24He didn't say yes or no, that he would think about it,
48:27but I'm afraid it's going to be a negative response.
48:30No, I don't think so.
48:32Don Fermín has an eye for business and your idea is very good.
48:36You'll see that he says yes.
48:45Is something wrong?
48:49Matilde?
48:51But that's the problem, that the rumors, when they are repeated a lot,
48:55end up being true in the eyes of others.
48:59I'm afraid they'll start treating Íñigo like a murderer when he's not.
49:02Yes, he explained to me how bad it is with the pressure of the press and the police,
49:06and of course, that they accuse him of murder.
49:08In the eyes of everyone, it must be hard.
49:10Yes, it is, of course.
49:13Even so, I saw it with great interest.
49:17And you, Matilde?
49:19How are you doing?
49:22Well, it's being painful and complicated.
49:26I'm not going to lie to you, the pressure affects me,
49:29but I know who I'm married to.
49:33And I know what Íñigo is capable of and what he's not.
49:38Of course.
49:41Matilde.
49:44Is something wrong? You seem absorbed.
49:47No, no, it's nothing.
49:49What do you mean, it's nothing? If I see you worried...
49:52I'm telling you, it's nothing.
49:54Well, if something worries you, you know what I can do.
49:56Look, Íñigo, I need to get some air. I'm going to the terrace.
49:58Okay, I'll go with you.
49:59No, there's no need.
50:01I'll go by myself.
51:24I love you.
51:30What are you going to do? You can't go on like this.
51:32I'm going to New York. I have everything planned.
51:35I'll board in two days, of course.
51:38I'd like you to come with me.
51:40You are the love of my life.
51:42I want us to start from scratch.
51:47Without a company, without benefits and without liquidity, there is no money.
51:50And if there is no money, there is no possible revenge.
51:55Have a good day.
52:02My father is coming to talk to you.
52:04So don't tell me later that I didn't tell you.
52:06What does Don Salvador want to talk about?
52:08He asked me not to tell you.
52:10Is it good or bad?
52:11Well, there's no need, because he's coming.
52:13Don't worry, Antonia, I have everything under control.
52:16I couldn't have chosen a better godmother than me.
52:19But when are you going to tell Esperanza that she won't be the godmother of our wedding?
52:23I tried, Pietro, I swear, but I couldn't.
52:25She's very excited. It's like she's going to get married.
52:28Maybe I'll start giving a few words at the banquet.
52:32When I do it better, in the desserts.
52:34Before, after.
52:36When you want, woman. The point is that the guests listen to you.
52:39Please leave us alone for a moment.
52:41Well, I'll go to the gallery to have a beer.
52:44But don't take long, huh? I still have a lot of inventory left.
52:47What are you thinking about?
52:50What do you think?
52:52That I'm not innocent?
52:54Don't you realize that it's very painful for me too?
52:59Oh, what a bad leg!
53:02You just threw the bet.
53:04No, it was unintentional.
53:06I would like to have a conversation with you.
53:09I don't know how it's going to be possible, because I don't feel like it.
53:12At least you could tell me what your name is.
53:15Leave me alone.
53:17The girl's name is Marta.
53:26Oh, damn. What I just saw.
53:29What did you see, Esperanza? What did you see?
53:30Oh, what I just saw.
53:32Your friend.
53:33Giancarlo won't be able to attend the wedding.
53:35What? Why?
53:36They won't let him leave the country.
53:38I'm sorry to interrupt, but this is Ernest Hemingway.
53:42Oh my God.
53:45My pleasure.
53:47Tell me, don't you believe me?
53:49I know you're not.
53:51But there are things that I can't...
53:52Tell me.
53:54Do you think I'm a murderer?
53:57I can't trust you.