Salón de té La Moderna - Ep 192
Salón de té La Moderna - Ep 192
Transcript
00:00How does it smell?
00:02It smells better in here, I'm telling you.
00:06I didn't want to wake you up this early,
00:08because I got home late.
00:11Hey, are you okay?
00:14You don't look worried.
00:16Yes, I'm fine, I'm fine.
00:19I'm not even in the hospital.
00:22You'll be fine.
00:23I'll be fine.
00:25I'll be fine.
00:27I'll be fine.
00:29Yes. Yes, I'm going to talk to Mr. Fermin today.
00:36I'm going to tell him my idea of organizing activities and events in the upper part of La Moderna.
00:41And well, all I have to do is think of the right words to sell the idea better.
00:46I'm very happy that you continue with your idea.
00:50Let's see if it compensates Mr. Fermin.
00:53Of course you will, my love. With that little bit you have, you can convince whoever you want.
00:59But 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, the truth is that I would like to tell you that you don't have to worry.
01:23Íñigo Peñalvera speaking.
01:26Yes, it's Peris, my lover.
01:32Yes, look, I'm glad, good news at last.
01:36Yes, yes, let's do it like that, of course.
01:39Have a nice day.
01:41Goodbye.
01:42Goodbye.
01:43Goodbye.
01:51Well, it seems that the police are 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 the tranquility in our lives.
02:11Yes, we and also in Madrid, Cabaret, of course.
02:16How are the preparations going?
02:19There is little left.
02:20Belmonte 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, to making excuses for not coming to the party.
02:35Love, trust.
02:38Surely in the end they come to support you.
02:47I'm going to serve.
03:08I see that you are reviewing the painting of the tables.
03:11Yes.
03:12Well, as you asked me.
03:14If you allow me.
03:18Excuse me.
03:22And well?
03:24Well, yes.
03:25Yes, you were right.
03:27Many tables need a painting hand.
03:30If you allow me.
03:32Excuse me, Mrs. Lazara, but you have me confused.
03:37Sorry.
03:39Well, don't worry.
03:40I'll make you a report and I'll take it to the office later.
03:43No, that's not it.
03:45It's just that...
03:47After you made me know that...
03:49What made me know.
03:51What you made me feel for me.
03:53I don't know how to behave.
03:55I don't know how to behave.
03:57I don't know how to behave.
03:59What you made me feel for me.
04:01I don't know how to behave with you.
04:03Please, Mr. Fermin.
04:04Don't remind me of that stupid mistake.
04:07It was inappropriate.
04:08Let's forget it.
04:09But how am I going to forget it?
04:11I have the feeling that I'm running away at any moment.
04:13No, no, no.
04:14I'm not running away.
04:16What happens is that I'm trying to amend my mistake.
04:20I'm trying to return to normality.
04:23To regain that good harmony that exists between you and me.
04:26Always in the field of work.
04:28But I see that I'm not getting it.
04:30I'm sorry, I'm sorry.
04:31Mrs. Lázaro, 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 are looking at the tables that need painting.
04:44And according to you, which are the ones that need a second coat of paint?
04:49That one?
04:51That one.
04:58Yes, the legs are damaged.
05:02Any more?
05:03Yes.
05:04This one here.
05:07Here.
05:16Here, if you see, you need paint.
05:19Yes, yes, you're right.
05:22Again, yes.
05:23It needs...
05:28You have a very good eye, Mrs. Lázaro.
05:31Yes.
05:32Well, I'm just trying to do my job well and with you it's really easy.
05:36We understand each other so well, Mr. Fermin.
05:39Sorry, no, I'm sorry.
05:41I didn't mean to insinuate anything.
05:45No, no, no.
05:46Look, I understand perfectly, Mrs. Lázaro.
05:48We are talking about the tables that need painting.
05:51It's not that, you said it yourself.
05:53We 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?
06:10No, I mean...
06:12I mean I'll wait for you to give me the report with the total number of tables that need painting.
06:19The report?
06:20Of course.
06:21I'll take it to your office.
06:24If you'll excuse me.
06:40Here, have some breakfast.
06:42I'm not hungry, Laurita.
06:44Come on, Inés, you haven't eaten anything these days.
06:47You have to eat to face the day.
06:49But now I can't decide for myself.
06:52Neither when to eat, nor when to go to the doctor, nor anything.
06:54We're dealing with the same thing again.
06:56Do you think it's normal for the guy to schedule a date with the doctor behind my back?
07:00Inés, you say it as if the guy had scheduled a date with any doctor.
07:04And no.
07:05He has done it with an eminence.
07:07With the best otorhinolaryngologist.
07:09Who also visits many singers, doesn't he?
07:11Well, very good for them, but I'm not going.
07:14Inés.
07:15Don't you think you're having a childish attitude?
07:18Well, if you treat me like a child, I'll behave as such.
07:22Okay.
07:23Let's talk like adults.
07:26Is it possible that what happens to you is that you're afraid and he tells you that you can't sing again?
07:34Well, yes.
07:35Yes, I'm...
07:36I'm scared to death, Laurita.
07:40And 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...
07:54After everything that has happened to me with César, well...
07:57We're not talking about that, huh?
07:59We're talking about you.
08:02Yeah, well...
08:03That's why, Laurita, that right now I don't...
08:05I don't have the strength to face a negative diagnosis.
08:09First of all, the diagnosis doesn't have to be negative.
08:13And if it were...
08:15I'm sorry to be direct, but the sooner you know it, the better.
08:19Wouldn't you be the first to reinvent yourself?
08:22Reinvent myself by doing what?
08:24Well, I don't know. You'll find something you like.
08:27Besides, you're not alone.
08:28You have me and the guy.
08:33I'm going.
08:41Yes?
08:45Inés, it's the guy.
08:49Inés.
09:00Dude.
09:02No, no.
09:03You don't have to come with me to the consultation.
09:06No, really, it's not an excuse.
09:09Yes, I'll go, but I'll go alone.
09:13Okay, yes.
09:14Yes, thanks for understanding.
09:17Goodbye.
09:19Are you sure you want to go alone?
09:21Yes, I'm very sure.
09:29How are the preparations for the duet?
09:31Stop, stop.
09:33I told you to stick the thread when I'm not present.
09:36What are you waiting for?
09:38Trini, are you eating for two?
09:41I'm hungry.
09:42Too much, I'd say.
09:44Come on, sit down.
09:46Sit down and learn.
09:48That getting worked up about your partner's stuff is also part of the job.
09:53Well, while I'm chatting, I don't have any orders.
09:55Obviously.
09:57Now, Antonia.
09:58What?
09:59How's the wedding going?
10:01Well, it's going slow, but it's getting closer every day.
10:05Pietro is waiting to talk to his son, who wants him to be the godfather.
10:08Ah, Giancarlo.
10:10With what he does for a living.
10:11I want to meet him.
10:12And me.
10:13And me.
10:14To see if there's luck and if I can talk to him today.
10:17Well, how's the guest thing going?
10:19Oh, do I have to take the dress out of the closet, yes or no?
10:22You say yes.
10:23Because since I fixed it for Matilde's wedding, well, to be able to take advantage of it.
10:27Well, of course, women, take it out.
10:28You're invited.
10:29Well, you're all invited, of course, of course.
10:32And I've also sent some telegrams to some of my cousins.
10:35But I still don't have an answer, of course, very soon.
10:37Oh, Antonia.
10:38Oh, Antonia.
10:39From your relationship with Pietro, as soon as possible, to be preparing the wedding for the race.
10:45That's it?
10:47That's it, Trini.
10:48You've been silent.
10:51We have to speed up the wedding, right?
10:53And forget about the problems.
10:54Well, Antonia, do you already have the wedding dress?
10:57Well, some idea, yes, that I have, yes.
11:00Some idea.
11:01But if that's the first thing a bride has to think about, for God's sake.
11:03Oh, I don't want to overwhelm them.
11:05But it is that, at this point, you would have to have in mind the flowers you want to put, the bought rings, you know?
11:11Well, thank goodness you didn't want to overwhelm me.
11:13Well, overwhelm that woman.
11:14Because, 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 lacks is the godmother.
11:24Well, look, I have that too.
11:26Are you going, Esperanza?
11:28Or not?
11:31Me?
11:35No.
11:50Hello.
11:52Excuse me, you are Celia Silva, right?
11:55Yes, 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.
12:05Well, then you don't know who I am.
12:08You know what they say about me, not everything is true.
12:11Among other things, they say that you are involved in the death of Doña Carla.
12:15Is it true or not?
12:16Well, the press assures many things.
12:19Look, until years ago, a newspaper said that there were beings living on the moon, and you believe that?
12:25Because it came out in the newspapers, I can assure you.
12:28But if a fantasy like that comes out in the papers, who tells us that other things don't?
12:35But well, I haven't come here to talk about journalistic rigor.
12:38If you allow me, I'll explain the reason for my visit.
12:41I'm listening.
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, yes.
12:55Exactly.
12:56I need everyone to forget about 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.
13:13No, 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.
13:25I'm sure you will know how to listen to her.
13:30I would pay you very well, I can assure you.
13:40I'm sorry, but I'm not going to do it.
13:49Look, I know we don't know each other.
13:52But if your requests to work with me are due to that murder of Mrs. Carlos,
13:58I can tell you that I have nothing to do with that.
14:03Well, thank you very much for attending me.
14:05Have a nice day.
14:17In case I change my mind.
14:22In case I change my mind.
14:28Oh, Marta.
14:30Here, Esperanza, for God's sake. I thought you were going to get excited.
14:33And you were going to give her a soponcio.
14:35Oh, for God's sake.
14:37A little bit of water.
14:39Think about your dress, your expensive dress, that you're finally going to take it out for a walk.
14:42Oh, Trini, I've never been a godmother of anything.
14:45Never.
14:47Not even in the village they chose me to go out to the dance.
14:50Oh, how brave.
14:51Well, as long as I don't dance at the altar.
14:53Oh, 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're still thinking about that.
15:04Because my house is small and Pietro's is even smaller.
15:07So, well, we'll see.
15:10Well, Esperanza, I'm going to go get the cleaning products.
15:15I'll ask Mrs. Teresa for the money.
15:18Yes, go, go.
15:20It's just that it's a broken hand.
15:22It's broken, Lejía.
15:24I'm going to Tajo, too.
15:32What's wrong, Marta?
15:34Yes, yes.
15:35Don't tell me anything, because I've seen how you looked at each other.
15:38And a godmother can't lie to her girlfriend.
15:41Tell me.
15:48Inés.
15:50César.
15:52César, are you okay?
15:54I can't believe it, but are you okay?
15:56Did 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.
16:02The Marseillais clan was looking for me.
16:04Because I knew they were going to find out.
16:06That's why I came to Alameda y Cabaret.
16:07César, my God, where are you?
16:09You're hurt.
16:10I'm fine.
16:11No, you're not okay.
16:12You're not okay.
16:13I've made many friends here.
16:15One of them was 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.
16:23Inés, I was watching you to find the best time to approach you.
16:26But it was impossible.
16:27You were always with me.
16:29In any case, I've already hurt you too much.
16:32I didn't want to leave without telling you that I love you.
16:35Leave?
16:36No, no, no.
16:37You failed, César, you failed.
16:40There is no way to be the owner's son.
16:50Good morning, Alvita.
16:52I don't know if they teach this at the university,
16:54but when the big needle is at twelve and the little one at eleven,
16:57that means exactly that...
16:59It's very early.
17:01Horribly early.
17:03You're right, Miguel.
17:05I'll talk to my father.
17:06It's a torture that this bookshop will open so soon.
17:08Quiet, quiet, quiet.
17:09Don't get your father involved in this matter.
17:11Let's not have a disagreement, you and me.
17:13May I know why you're so late?
17:16I ran into an old lady who came back very loaded from the market
17:20and I saw myself in the obligation to help her.
17:22And of course, I was also forced to accept her breakfast,
17:25which the old lady had come to offer me.
17:27The section of Chinese stories is on that shelf, gentleman.
17:30Look, Salvita, who studies law,
17:32lies are not good for him.
17:34May I know where you're coming from?
17:36The truth.
17:37You've already told me the lies.
17:39From a hangover to the many with my friends from the tuna.
17:43Ah, very good.
17:44So you come to work without sleeping.
17:46And without breakfast.
17:48I'm going to go to the living room to have a drink, okay?
17:50If you'll excuse me.
17:51Quiet there.
17:53Your father doesn't go to that living room.
17:55That's what I needed.
17:56To see you there in working hours.
17:58Do you see this?
17:59It's a rag.
18:00And if you don't like it,
18:01Do you see this?
18:02It's a rag.
18:03And it's used to clean.
18:05And these are books.
18:06And you have to get the dust out one by one.
18:09And the exhibitors too.
18:10You have to empty them, scrub them and fill them again.
18:12Are you sure you need to clean all the books?
18:16I see them well like this.
18:17Also,
18:18that they have a little dust, they love it.
18:21Yeah, sure.
18:22But that they get dirty in the hands of the customers,
18:23it takes away all the magic.
18:24So,
18:25to clean.
18:32A new piece.
18:48It would be better if your uncle didn't see me with you.
18:50No, no, don't go, please.
18:51Listen to me.
18:52Don't leave me like this.
18:53Tomorrow afternoon in the park.
18:54I have something very important to tell you.
18:58Inés?
18:59Inés?
19:00What a coincidence!
19:02What's up?
19:05All good, honey?
19:06All good, all good.
19:07Are you sure?
19:08Sure.
19:09Because it doesn't seem like it,
19:10and you know it's very difficult to deceive your uncle Fermin.
19:14You're nervous, aren't you?
19:15Because you're going to the specialist.
19:17Uncle, what are you doing here?
19:19And don't tell me this meeting is a coincidence,
19:21because it isn't.
19:22No, no.
19:23It's not a coincidence.
19:24And what do you want me to do?
19:26I know you prefer to go alone to the consultation, but ...
19:29But I'm not calm if I let you go alone through all this.
19:34Uncle, please, can you hug me?
19:37Please.
19:38Of course, honey.
19:40Come here.
19:42Everything will be fine.
19:44You'll see how the doctor says that everything will be solved,
19:46because everything has a solution, honey.
19:48Everything.
19:49Come here.
19:58Come here.
20:28Come here.
20:59A month later.
21:10Did you get hurt, miss?
21:11But who left all these books here?
21:13I almost killed myself.
21:15I see you have the same version of the books as me.
21:20You're very loaded.
21:22Take a break, woman.
21:23Come on, I'll help you get up.
21:26I can get up on my own.
21:27You've done enough throwing me to the ground.
21:30You have beautiful eyes, did you know?
21:33It's a shame they don't help you see what you have in front of you.
21:37That's a good one.
21:38On top of you almost killing me, you laugh at me.
21:40What's that noise?
21:41What happened here?
21:43Well, it looks like you've expanded the bookshop.
21:45Now to buy a book you have to throw yourself to the ground.
21:48Forgive the boy.
21:49It's his first day.
21:50And he still doesn't understand what his job is,
21:52or what time to arrive, or anything.
21:54Well, talk to him, I know he's going to give him some orders
21:56that will make everything very clear to him.
21:58If you know those orders, could you show them to me?
22:03What do you think this afternoon, while we have a drink?
22:06You've helped me a lot, Miguel.
22:09On top of being funny and laughing at me, he's a smartass.
22:12Don't get mad, woman.
22:15My name is Salvador.
22:17But you can call me Salvita.
22:19And you, what's your name?
22:20You don't care if they call me that.
22:24For God's sake.
22:25Half of the 98 generation on the floor.
22:28I'm telling you, it's not a good time to know.
22:30Come on.
22:31Pick up all this right now.
22:32And don't hang the jacket there.
22:39Celia.
22:41My joy in a well.
22:42My uncle has rejected all my proposal.
22:44About the tertulias?
22:46Yes, I wanted to take advantage of your contacts
22:48to attract the most interesting intellectuals to our tertulias.
22:52A 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?
23:03Alfonso Vidal and Planas, or Bahia and Clan, for example.
23:07But why?
23:08Well, because he thinks it's not good for us to relate to people like that.
23:15I see.
23:22What's wrong with you? Are you okay?
23:24I'm fine.
23:28Íñigo Peñalver has been here before.
23:31He also wanted to take advantage of my contacts in the press
23:34to promote a party he wants to give in Madrid Cabaret.
23:38But I told him no.
23:40Why?
23:42Because I don't want to have anything to do with a murderer.
23:45Celia, I don't know a lot about Íñigo
23:49and I don't know what you've read either,
23:50but I assure you that both my uncle and I are sure that he is not a murderer.
23:53And Inés doesn't either, she always speaks wonders of him as a boss.
23:56Yeah, well, but being a good boss doesn't mean you can't kill.
24:00Look, do you remember a few months ago that they put some bombs in La Moderna?
24:04Yes.
24:05Well, if it weren't for Íñigo and Matilde who risked their lives and deactivated them,
24:08well, today we wouldn't be here.
24:11I didn't know any of that.
24:13Yeah, it seems that the newspapers have also forgotten, I don't know,
24:16maybe they sell more a headline of a murderer than a hero.
24:19Don't listen to what those scoundrels say.
24:23Celia, if Íñigo asked me for help, I would give it to him.
24:28And now I'm going to see how everything goes,
24:30because we never finish this step.
24:53The next day.
25:01What a day full of management we have.
25:05Yes.
25:06Then I will send the lawyers of the Morcuende group
25:09a copy of the rental contracts of the apartments and premises in Seville.
25:13I want them to review the clauses and the conditions for a renovation.
25:20I thank you so much for helping me with these matters.
25:23As soon as I start reading those papers,
25:25all the letters get mixed up and I don't understand anything I read.
25:29Don't exaggerate.
25:30And 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 will begin to understand them.
25:46Okay, I'll send you a copy and I'll keep you informed.
25:51How simple is everything by your side.
25:53You 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,
26:11providing me with your help.
26:13What would I do without you?
26:15No, no, no. What would I do without you?
26:17And don't worry.
26:19Really.
26:20I assume with great pleasure, and in your name,
26:22the management of the affairs of the Morcuende company.
26:26And all the time you think necessary, too.
26:29You'll say I don't know what to do to keep you by my side, right?
26:32Well, I don't need excuses.
26:35And it doesn't cost me anything, I insist.
26:37I understand that you are not familiar with what it means to manage a company.
26:42Because...
26:43Besides...
26:46Besides what?
26:49I don't think it's easy for you to sit in that office.
26:54Handling matters that Carla was in charge of until recently.
26:59It has to be very painful.
27:01You don't know it well.
27:03You have described perfectly how I feel.
27:07How it shows that you know me.
27:09Thinking of Carla breaks my heart.
27:14A FEW HOURS LATER
27:17Yes?
27:20Do you allow me, Mr. Fermin?
27:22Wow, Mrs. de Peñalver.
27:24Come in, Matilde, come in.
27:26You know that you are always welcome here.
27:29I 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.
27:37What I regret is not having you here.
27:40Every day is not a living room with all the energy you transmit.
27:43Related to that, they have already informed me that the rule 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 much earlier when you were still working here with us.
27:57Well, I know that at that moment I begin to value it.
27:59And that is enough for me.
28:01Times change.
28:02If 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.
28:09I am anxious to know what you want to propose to me.
28:14What would Mr. Fermín think if I was in charge of organizing events and events in the living room?
28:21Events and events?
28:22What kind?
28:24Meetings between businessmen.
28:26It would be at the top of the living room.
28:28Taking advantage of the fairs and business conventions that are organized in the city.
28:34I must admit that on some occasion I considered organizing something similar, but I ruled it out.
28:41In fact, not long ago we organized a cultural event on the upper floor, but we have decided not to continue with it.
28:48Yes, but the approach I propose is different.
28:52It would be aimed exclusively at the business sector.
28:55Okay.
28:56Give me some time to think about it and I will give you an answer soon, I assure you.
29:02Very well.
29:03Thank you, Mr. Fermín.
29:06Matilde, by the way, I don't know if your husband has told you that I was at your house yesterday.
29:12Yes.
29:13He told me something.
29:14Yes, he explained to me how bad it is for the press and the police.
29:18And of course, that they accuse him of murder.
29:20In the eyes of everyone, it must be hard.
29:23Yes, it is, of course.
29:26I still saw him very interested.
29:30And you, Matilde?
29:32How are you doing?
29:35Well, it's being painful and complicated.
29:39I'm not going to lie to you, the pressure affects me, but I know who I'm married to.
29:46And I know what Íñigo is capable of and what he is not.
29:52I am very happy that we are taking a walk because there is something I want to tell you.
29:57I finally have a plan.
29:58Let's see, what lie is it about now?
30:01Why should we lie?
30:02Because it is what we have 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.
30:12But, well, not anymore.
30:14Because we are going to start my plan.
30:16The Cupid plan.
30:19Don't tell me we have to make someone else fall in love.
30:21Because 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.
30:29But I'm already in love with you.
30:32Or 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.
30:36Do you want to hear my plan or not?
30:37Yes, of course.
30:39For the Cupid plan to work, you have to act coordinated.
30:45And if everything goes well, it doesn't have to fail.
30:47It will fail, you'll see, all our plans fail.
30:50The Cupid plan consists of three phases.
30:53I don't know, I already said how easy this was going to be for me.
30:55For the Cupid plan to work, you have to follow the phases straight away.
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?
31:17Can you hear me? Do you want to hear the plan or not?
31:19Yes, yes.
31:21First phase of the Cupid plan.
31:23Falling in love.
31:26We have to pretend that we are in love and that we are committed in record time.
31:31In record time.
31:40And well, as Antonia already told you, it worked.
31:43Well, in record time it will be about his commitment, why not?
31:46About his falling in love.
31:47You knew for years that Pietro was flirting with Antonia.
31:50Step number two of the Cupid plan.
31:52The fake wedding.
31:55The fake wedding?
31:56Yes.
31:57What if we repeat ours?
31:58Do you have money to repeat ours?
32:00You don't, do you?
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.
32:25All 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.
32:31Well, of course.
32:32With the first phase, falling in love, you already know.
32:35And if not, well, look.
32:36If we need help, Cañete can be our accomplice.
32:39Ah, of course.
32:40Yes.
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?
33:32He hasn't come back yet.
33:33He's gone to eat.
33:36Talk to me about you, kid.
33:38I think you and I are going to see each other a lot more from now on.
33:41Aren't you Don Salvador's son?
33:44The original and intransferable, the same one who dresses and walks?
33:47Salvita.
33:48Don't we know each other?
33:50Yes and no, no and yes.
33:52Well, we are getting to know each other now.
33:54The truth is that I have seen you in the gallery and in the tea room, always accompanying your father.
33:59Well, I am the head of the waiters on duty.
34:02Well, at the moment I am a temporary waiter, but my promotion is imminent.
34:05Elias.
34:06I introduce myself.
34:07Here to serve you, always diligent.
34:10Well, I figured Miguel would have told you a lot about me.
34:14Elias.
34:15Yes.
34:16I don't think I've mentioned it, have I?
34:18No.
34:19How 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.
34:28You have to prosper, you have to thrive.
34:30As 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.
34:38Let's see, let's not get out of here, because Miguel is very discreet.
34:41But apart from being a bookseller, he is a salesman.
34:44Well, I would say representative.
34:46He has a prestigious strip brand called La Fajete.
34:50You are a well-read guy.
34:52I imagine it will suit you, right?
34:53No, I'm not very good at the subject of strips, to be honest.
34:56Oh, no?
34:57Well, you are lucky that there are two hands of an expert.
34:59Because you will have noticed the numerous calls that Miguel receives throughout the day.
35:05I know he takes the strips off his hands, hey.
35:07What a business.
35:08That the phone does not stop ringing.
35:11Yes, but ...
35:13I thought it was to order books.
35:15But let's see, Salvita.
35:17What have you not understood from Spavilar?
35:19That it is not for the books, that it is for the strips.
35:21Well, strips and corsets.
35:23As they say, eh?
35:24Fajas, La Fajete.
35:26Anyone can get inside.
35:28To be handsome and, above all, more majete.
35:32Well, aren't you interested in a strip of Caballero?
35:35Because I also sell them.
35:37Miguel's business is not the same, if not thanks to me.
35:40Because I have made a propaganda there where I have gone.
35:42No, no, yes, I see it.
35:44So what?
35:45Are you interested in a strip of Caballero or are we going with a corset today?
35:48Let's go with a corset.
35:57Carla, please.
35:59You can't go on like this.
36:00You 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.
36:16Don't be ridiculous.
36:18You never gave me anything to eat.
36:19That's why I had the maids.
36:21Besides, I don't have an appetite.
36:26My love, there has to be something I can do for you.
36:32Yes, you're right.
36:34Give me the newspapers.
36:37Here, so much time locked up, there's nothing to do.
36:39At least that way I entertain myself and see what happens out there.
36:42Okay.
36:43I'll bring you the press.
36:45You have to eat.
37:09So you're in the dunes.
37:11Then it's obvious, Salvita.
37:13Obvious, white and in a bottle.
37:15This is very clear.
37:16A strip.
37:17The 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.
37:30Then I'll take care of one and then another.
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 was going to ask him about your behavior today,
37:42but it looks like he's going to be the one asking for explanations.
37:46It's late.
37:52Don't move, son.
37:53Don't let it be that you exhaust yourself.
37:59The goleta of the letters, tell me.
38:03Sorry?
38:05Fajas, the fajete.
38:07No, no, sorry.
38:08He must have made a mistake.
38:10No, no.
38:11It's not here.
38:12I'm sorry.
38:13Yes, I'm sorry, Don Salvador.
38:16Yes, tell me.
38:18Yes, yes, one moment.
38:20Can you write it down, please?
38:22Yes, Fajas, the fajete, tell me.
38:24Of course.
38:25A request 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'll be waiting for you here, of course.
38:40This is unbearable.
38:41But, well, it's unbearable.
38:43Don Salvador, if it's a sale, we don't give a damn.
38:46Let's see, Elías, what are you doing here?
38:48I know, I know, Don Salvador.
38:50I just came out of the bar and I really look like a completely different man.
38:55You don't recognize me.
38:57Well, I'm going to go to work because work demands me.
39:01Can you do me a favor and tell Miguel that I got a sale for two fajas and a corset?
39:06They're so kind.
39:07Ángel García Gómez.
39:10Two fajas and a corset.
39:14Because I have to go, because if I don't, you won't say a word about this, Miguel, okay?
39:21I'll talk to him tomorrow about all this fajete thing.
39:25The fajete, Father.
39:27Fajas and corsets.
39:31Fajas and corsets.
39:37I'm in love with you.
39:39Please.
39:40Don Fermín, don't remind me of that stupid mistake.
39:43It was inappropriate, let's forget it.
39:45But how can I forget it if I feel like I'm running away at any moment?
39:49No, no, no, I'm not running away from you.
39:52What happens is that I'm trying to mend my mistake.
40:02Don Fermín, excuse me.
40:05I saw you leaving with Mrs. Lázara this morning and I think you have something to tell me about it.
40:10Teresa, I consider that what I leave or stop leaving with Mrs. Lázara is a personal matter that I have no reason to share with you.
40:18But if all I...
40:20Besides, what do you know about it?
40:22No, nothing, there are some tables that have to be painted, but 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, because it is a matter that concerns Mrs. Lázara.
40:37So please, don't get me wrong.
40:39But if you'll excuse me, I have to go back to the office.
40:58I have to go back to the office.
41:07You've already messed it up, haven't you?
41:10Sit down, Marta, please.
41:16Antonio has spoken with Esperanza.
41:18Come on, it's the work that's messed up, not here.
41:21Esperanza told me that she is looking for a room in a boarding house.
41:25Telling the secrets of others.
41:27That commandment is not known.
41:29Marta, if that's what you want, go ahead, go.
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 and...
41:53Don't bother, honey.
41:55Come here.
42:00The only thing is that we have to find a more comfortable place for the three of us.
42:04It's just that my house is smaller than that.
42:08But the important thing is that the three of us are together.
42:14Do 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 you to soak your teeth.
42:23I'm sorry.
42:29See what a good idea it was?
42:31With afternoons like this, I don't feel like going to the boarding house.
42:35Yeah, it's very good.
42:37And besides, if you come to get some fresh air after work, it seems that you forget your worries.
42:43Worries that I don't want to take you home?
42:47Well, my big worry right now is Mrs. Lazara.
42:51Have you done one of hers again?
42:53Not to me.
42:55But I'm worried about Mr. Fermin.
42:58Let's see, for me it's clear that she's looking for something in him.
43:01But I'm starting to think that he's also looking for something in her.
43:05But why do you say that? Have you seen anything?
43:08Well, if you look this morning in the living room, they were each at one end and looking at each other.
43:13And then they were talking about something that we didn't hear, of course, but it seemed personal.
43:18Do you think that 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 thought that I was going to ask him about his conversation with Mrs. Lazara.
43:32And of course, look how he's dressed.
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...
43:51Giancarlo?
43:53Do you know if he's going to be able to come at the end?
43:55Not yet.
43:56Although, being realistic, I don't think we can count on Giancarlo.
44:01I'll have to think of someone else as a godfather.
44:05I wanted to tell you...
44:07And you?
44:08What?
44:09Have you thought who could be your godmother?
44:11Oh, yes, yes, yes, I've already told Esperanza.
44:14It's a joke, right?
44:15It'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.
44:25Since it's not a joke, I don't want Esperanza as a godmother.
44:30Why?
44:31But, Pietro...
44:33Well, you like each other a lot, but you also have affection.
44:36Yes, Antonia.
44:37We have affection.
44:38It can be funny at work,
44:40but don't take me from arm to arm, please.
44:43But...
44:44This woman would be capable of getting in front of the priest and the guests.
44:48Aren't you exaggerating a little?
44:50No, I'm not exaggerating, Antonia.
44:52Esperanza is not suitable.
44:54Pietro...
44:55No, no, no.
44:57Don't try to convince me, Antonia.
44:59Because you won't get it.
45:02I'd better go.
45:04I'm sorry.
45:06But...
45:08Pietro!
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,
45:25I don't want the rumor to spread.
45:27But well, after all, I don't have any proof.
45:30They are just my speculations.
45:32I'm sure they are, Teresa.
45:35Whether you like it or not,
45:37they are two people who have spent a lot of time together.
45:40And now they even share an office.
45:42There is a certain complicity between them.
45:44I'm sure that's it.
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?
45:54Well, 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.
46:09Why are you looking at me like that? Do I have something?
46:11No, you don't have anything.
46:15I say that maybe Mrs. Lázaro looks at him like that
46:17because he wants to earn his trust.
46:19No, Cañete, no.
46:21I'm sure Mrs. Lázaro is looking for something else in him.
46:25You'll see.
46:35Well, this morning I didn't have them all with me.
46:38I went to see Celia Silva, the photographer.
46:42Laura's friend, do you know her?
46:44Yes, her partner in the store.
46:46Well, it turns out that she also works as a press agent.
46:50And well, at first she didn't want to help me,
46:53but 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.
47:02And to be able to do it, there is not much time left.
47:05Yes, yes, I trust her.
47:07In addition, it turns out that she has already contacted Fortuna.
47:10The bullfighter.
47:11And she's also going to contact other personalities
47:13that she doesn'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 well.
47:38I'm sorry, my love, that sometimes I end the conversation.
47:42And how are you? Any news?
47:45Yes, yes.
47:47Jacobo has called you and he's still in Seville
47:50and 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.
48:00Even the waiters have told him that they want to continue working there with him.
48:04And have you told him if he can come to the party?
48:07No, he won't be able to, because he has the contract signed.
48:11What a shame.
48:16And well, tell me, how's it going with Don Fermín?
48:19Did he say anything about your proposal?
48:21Well, I don't know.
48:23He didn't say yes or no,
48:25that he would think about it,
48:27but I'm afraid it's going to be a negative response.
48:29No, I don't think so.
48:31Don Fermín has a knack for business,
48:34and your idea is very good.
48:36You'll see that he says yes.
48:44Is something wrong?
48:48Matilde?
48:50But that's the problem,
48:52that the rumors, when they are repeated a lot,
48:55end up being true in the eyes of others.
48:58I'm afraid they'll start treating Íñigo like a murderer when he's not.
49:02Yes, he explained to me how bad it is,
49:04with 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 him with great interest.
49:17And you, Matilde?
49:19How are you doing?
49:21Well, it's being painful and complicated.
49:26I'm not going to lie to you, the pressure affects me,
49:28but I know who I'm married to,
49:32and I know what Íñigo is capable of and what he's not.
49:37Of course.
49:40Matilde,
49:44is something wrong? You seem absorbed.
49:46No, no, it's nothing.
49:48What do you mean, it's nothing?
49:50You look worried.
49:51I'm telling you, it's nothing.
49:54Don't be stupid, don't worry.
49:55Look, Íñigo, I need to get some air.
49:57I'm going to the terrace.
49:58Okay, I'll go with you.
49:59No, there's no need.
50:01I'll go by myself.
50:23I'll go by myself.
50:53I'll go by myself.
51:24What are you going to do? You can't go on like this.
51:26I'm going to New York. I have everything planned.
51:29I'll be on board in two days.
51:32I'd like you to come with me.
51:34You're the love of my life.
51:36I want us to start from scratch.
51:41Without a company, without benefits, and without liquidity, there's no money.
51:44And if there's no money, there's no possible revenge.
51:47I'm going to New York.
51:49I'm going to New York.
51:51There's no possible revenge.
51:55Have a good day.
52:01My father is coming to talk to you.
52:03So don't tell me later that I didn't tell you.
52:05What does he want to talk about?
52:07He asked me not to tell you.
52:09Is it good or bad?
52:10There's no need, because he's coming.
52:13Don't worry, Antonio, I have everything under control.
52:16I couldn't have chosen Madrid better than me.
52:19But when are you going to tell Esperanza that she won't be the bride of our wedding?
52:23I tried, 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 saying a few words at the banquet.
52:31When I do it better?
52:33At the dessert?
52:34Before? After?
52:36When you want, woman.
52:37As long as the guests listen to you.
52:39Please leave us alone for a moment.
52:41Well, I'll go to the gallery to have a shot.
52:44But don't take too long.
52:46I still have a lot of inventory left.
52:48I'm thinking.
52:51What do you think?
52:53That I'm not innocent?
52:55Don'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, I didn't mean to.
53:06I'd 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 your name.
53:15Leave me alone.
53:16The girl's name is Marta.
53:25Oh, damn!
53:27What I just saw.
53:28What did you see, Esperanza?
53:29What did you see?
53:30Oh, what I just saw.
53:31Your friend.
53:32Giancarlo won't be able to attend the wedding.
53:34What? Why?
53:35They won't let him leave the country.
53:38I'm sorry to interrupt, but this is Ernest Hemingway.
53:41Oh, my God.
53:44My pleasure.
53:46Tell me you don't believe me.
53:48I know you're not.
53:50But there are things that I can't...
53:51Tell me.
53:53If you think I'm a murderer.
53:56I can't trust you.