Salón de té La Moderna - Ep 193
Salón de té La Moderna - Ep 193
Transcript
00:00A few hours earlier
00:12I've hurt you too much. I didn't want to tell you I love you.
00:16Tell you? No, no, no.
00:18I'm already here. I'm with you.
00:26Inés, what are you thinking about?
00:28Nothing. I was thinking that I shouldn't talk much so that my recovery is faster.
00:35I see. What did the doctor tell you about that?
00:38That I shouldn't talk too much.
00:41Anything else?
00:43What he told me isn't very positive.
00:46He told me that my vocal cords were damaged.
00:49I see, but he didn't tell you anything else?
00:51Well, he didn't make it very clear to me if I was going to fully recover or not.
00:55Well, you know how doctors are. They prefer to keep quiet to cover their backs.
01:01Yes. You should have seen his face.
01:04It was as if he didn't want to tell me that things were looking bad.
01:08Well, maybe he didn't want to sign anything without doing all the tests.
01:11That's what he told you. Without them, he can't make a clear diagnosis.
01:15He won't be omitting information. Maybe he doesn't know.
01:18Well, look, I can't guess what that doctor is thinking.
01:21Well, but you have to give him a chance, Inés.
01:25That doctor is an eminence. He's cured many singers, hasn't he?
01:52How are you, daughter?
01:55Mother, don't worry so much and don't underestimate me.
01:58I'm going to endure whatever it takes until I can execute my revenge.
02:03Daughter, I understand your feelings and your anger,
02:06but you're really going to ruin your life just because you have...
02:09Just to do justice?
02:11I think it's more than enough reason.
02:14Carla, dear.
02:15Why don't you try to forget?
02:17Forget everything.
02:19You've suffered a lot.
02:22You could start a new life, leave.
02:24Leave all this behind.
02:26I have everything, everything prepared.
02:28You just choose the day and you've done the rest.
02:30Mother, I know you're trying to protect me and you think that's the best thing for me,
02:34but I've already told you.
02:37You can't do this to me.
02:39You can't do this to me.
02:41You can't do this to me.
02:42But I've already told you.
02:44I'm not going to run away.
02:46Don't be so capricious, daughter.
02:49You're really going to ruin your existence because of a bastard who has broken your heart.
02:52He's going to remember me for the rest of his life.
03:00You've suffered enough, daughter.
03:04I've already decided.
03:06And I would like to be able to count on your help.
03:08I don't need anything.
03:11I just ask you to think about it a little more before getting involved in this.
03:14It's more than I thought.
03:16So don't try to convince me because it's useless.
03:23I know you're not sure,
03:25but I'm very sure you're going to go back on stage
03:28and you'll leave all your audience stunned.
03:32I prefer not to make my illusions, Laurita.
03:35Because if I don't recover in the end, the disappointment would be huge.
03:38Well, I understand what you're saying, but don't get the worst of it.
03:42What we have to do is make plans to distract you.
03:45We could go help Celia paint the back of the store.
03:51What an illusion.
03:53Well, we'll paint a little, see how it goes,
03:55and then we can go see the show.
03:57I don't know.
03:59I don't know, Laurita.
04:00I'd rather stay home.
04:01I don't want to infect my mood with either of you.
04:06Are you sure?
04:07Yes.
04:08If I change my mind, I'll call you at the store.
04:11Okay.
04:12I'm leaving, but I'll be watching.
04:38Yes?
04:40Inés, how are you?
04:42Bésar.
04:44I've been thinking about you all day.
04:47Remember we met this afternoon?
04:48Yes, yes, yes, of course I remember.
04:51I haven't slept thinking about seeing you.
04:59Well, did you read the documents I gave you?
05:02Did you read the documents I gave you?
05:06I've asked Fabio for what you wrote down in the contract I gave him.
05:10For it to go up by 5%.
05:12The price of the rent for the real estate in Seville.
05:155%?
05:16I asked for 10%.
05:19I don't know how Fabio is going to live his life now.
05:22He doesn't care.
05:24He asks me to help him, but then he doesn't do what I tell him.
05:27I don't understand him.
05:29Tell him it was a deal.
05:30Tell him to change it.
05:33Listen to me, daughter.
05:35Without a company, without benefits and without liquidity, there is no money.
05:39And if there is no money, there is no possible revenge.
05:42Do you understand me?
05:44I know.
05:47I know you know.
05:49But from time to time it's good to shorten it.
05:53I'll see what I can do with Fabio and the percentage thing.
06:02I'll see what I can do with Fabio and the percentage thing.
06:16Antonia, don't take too long and give me the list of guests.
06:19As if I'm not going to the printing house to take care of the invitations.
06:22Well, I have a lot of things in my head, Esperanza.
06:25Well, so many that I don't even know where to start.
06:27Well, make a list and give me the first one.
06:30Yes, yes.
06:31Excuse me, but I still don't know exactly who I'm going to invite.
06:34Antonia, Antonia.
06:35Well, you know you can count on us.
06:37And if you need any kind of help, just let us know.
06:40Well, well, order, order.
06:41Come on, if you have to ask something, come and tell me.
06:44That's why I'm the godmother of the wedding and the one who organizes everything.
06:47Do you understand?
06:48Yes, yes.
06:49Well, Esperanza, but you don't have to take care of everything.
06:51I can also do things.
06:52And here Elías also wants to help.
06:54Antonia, with you concentrating on being beautiful and being happy.
06:57Well, and make me the list of guests.
06:59Elías is invited?
07:00Well, woman, of course.
07:01Man, but if I know how to mix all the sauces, Esperanza.
07:04Eh?
07:05By the way, Antonia, will there be a dance, right?
07:08I told you to ask me the questions.
07:10Well, I'll do it to you.
07:11There will be a dance, right?
07:12I imagine there will be a dance at his wedding.
07:13Because dancing is the most important thing.
07:15Apart from the boyfriends.
07:16Please, you don't have to take it to your chest, Esperanza.
07:19Come on, hurry up.
07:20That Spain does not get up alone to work.
07:22Well, write it down about the dance.
07:23Yes, I'll write it down.
07:24Come on, man.
07:25Don't worry, Antonia, I have everything under control.
07:29I couldn't have chosen a better godmother than me.
07:32Well, I'm leaving, because apart from solving the wedding, I also have to do my job.
07:37Of course.
07:38Oh, look at him.
07:39Since he's engaged, he doesn't look as ugly as before.
07:54Salvita.
07:55Salvita.
07:57If you don't mind, could you help me with the order that has just arrived,
08:01so you can spend the morning faster?
08:03No, Miguel.
08:04Don't worry about me.
08:06I'm not very boring.
08:08If I'm careful, I'll find a way to have a good time.
08:13Well, since you're not boring,
08:15I'm sure you'll also find it very fun to help me with what I ask of you, right?
08:21By the way, Miguel.
08:22Miguel.
08:24My father is coming to talk to you later,
08:27so don't tell me later that I didn't tell you.
08:30And what does Don Salvador want to talk about?
08:33He asked me not to tell you.
08:35He made me promise what, according to him,
08:38I really like to talk and right away I go away.
08:41Well, I'm not asking you to tell me exactly what he told you,
08:45but a little clue.
08:47Is it good or bad?
08:48Well, it's not necessary, because he's coming.
08:51So...
08:52I was about to tell you, but...
08:55Hey.
08:56A piece of advice.
08:57Don't deny what is obvious.
08:58My father gets mad at that, you can't imagine.
09:00What?
09:02Good morning, Don Salvador.
09:03How can I help you?
09:06Well, look.
09:09I'm very curious about the fajete.
09:13Well, me too, because I don't know what it is.
09:17Are you sure, Miguel?
09:21Well, yes.
09:22I have some idea.
09:24In that case, I'm willing to listen to everything you have to tell me.
09:31Let's see, Don Salvador.
09:33Because of circumstances that don't come to mind,
09:36I saw myself in the need to complement the salary of the bookshop
09:40with an additional income.
09:43That's why I had to look for a job.
09:47Selling fajete in my bookshop.
09:51Please don't fire me.
09:53I beg you, Don Salvador.
09:55I won't sell fajete again.
09:57I promise.
09:58And I'll focus on books and the bookshop, as I always do.
10:01What you've done is very wrong, Miguel.
10:03You've betrayed my trust.
10:06And you've used my bookshop to sell a disgusting product.
10:10You're absolutely right.
10:12And I'm very ashamed.
10:14That's all I can say. You're right, and I'm sorry.
10:17Salvita.
10:19Please leave us alone for a moment.
10:22Well, I'll go to the bookshop to have a drink.
10:26But don't take too long. I still have a lot of inventory.
10:34Don't think you've gotten rid of the threat of firing me, okay?
10:37I told you I was wrong, and it won't happen again.
10:40Behave yourself. Your job is not in danger.
10:43I won't do anything like that again.
10:45Nowhere. Not here, not anywhere.
10:48Goodbye, fajete.
10:49Anyway, they squeeze and what's the point?
10:51There's something I could do to forgive you
10:55and to forget this unpleasant incident.
10:58Trust me, Miguel.
11:00I need you to domesticate my son.
11:03Domesticate?
11:04Come on, Miguel.
11:05Don't tell me you haven't realized he's a retarded vagabond.
11:09Make him a man of law and order.
11:11Even try to instill some habit in him
11:14that goes beyond playing the tambourine and going around with girls.
11:20What if I can't do it?
11:23And if you can't do it,
11:25I'll remember all of a sudden that you've been selling fajitas in my bookshop.
11:32Deal?
11:36It's over.
11:37Good afternoon.
11:41Good afternoon.
11:48But when are you going to tell Esperanza that she won't be the subject of our wedding?
11:52I swear I couldn't.
11:54She's very excited. It's like she's going to her house.
11:57But don't worry, I'll do it.
12:00Come on.
12:01As soon as possible, please.
12:03The more excitement there is, the harder the deception will be.
12:06Just the thought of this woman taking me from arm to arm makes me sweat.
12:11I think you're exaggerating a little.
12:14But don't worry, I'll do it. I promise.
12:17Have you found a way to let your son know?
12:20Yes.
12:21I've been given the number of a tavern in the village where I live now.
12:24I'll call him when I can.
12:26I hope I can come.
12:28Will it make you as excited as marrying me?
12:31Yes, it would make me very excited.
12:33I was thinking about something.
12:35Yesterday you told me that you'll miss not living in La Corrala, right?
12:39Well, yes, but don't be upset about that either.
12:43One does everything.
12:46We could rent the apartment where Matilde's family lives.
12:50It's free.
12:51Is it true?
12:53We could talk to Don Braulio's children.
12:56Yes.
12:57I'll try to find them and we'll see what they ask for for the rent.
13:01Perfect, yes.
13:03I would be very excited to be able to stay after our wedding.
13:08Thank you.
13:09Thank you.
13:28Six, seven...
13:31Of course, painting is your thing.
13:33Why do you say that?
13:34Because you have more paint on your face than on the walls.
13:37Those are details.
13:38Ah, yes, details.
13:40Why don't I finish painting and you finish making the inventory?
13:43That way we'll know what we need and what we don't.
13:45We open in a week and we don't have time.
13:47No, I'm not going to continue painting.
13:50By the way, I want to go for a walk with my sister.
13:54Before going to the Madrid-Cabaret party.
13:57She has a lot of memories of that place and she doesn't want to go back.
14:02Good morning.
14:04I see you're preparing the opening.
14:06Yes, the truth is that we're a bit busy.
14:09How are you? Nervous?
14:11Nervous?
14:12Well, the truth is that a little bit, yes.
14:14I play a lot at this party.
14:16And if it doesn't go well, that means that people have turned their backs on the Madrid-Cabaret and whatever that means.
14:22But well, I try not to think about it and focus on everything going as well as possible.
14:26Because then the rest is not in my hands.
14:30But that's not going to happen.
14:32Because I've talked to four newspapers that have confirmed your attendance.
14:37Let's see if I'm going to have to change the name to the crazy one.
14:39Call him Celia Cabaret.
14:41Well, well, first we're going to fill it up and when it's very successful,
14:44then maybe you can choose a poster with my name on it.
14:54Hi.
14:55Hi.
14:59Hey, I wanted to apologize for yesterday's incident.
15:02I wasn't nice. I hope you didn't think I wanted to make fun of you.
15:06I don't even remember.
15:09It's just that as soon as I see the occasion, I think I'm going to make a mess.
15:12That's how I am.
15:14Yeah, well, they pay me to clean, not to beat up two clients.
15:18Well, girl, I'm more of a colleague.
15:21Don't you see that I work in the bookstore?
15:23Work, work, and I see you here, chatting.
15:25Well, that. Much better here, with you.
15:29Oops, what a bad leg.
15:32You just pulled the poster. I'm not going to clean it.
15:35No, it was unintentional.
15:37No, it was unintentional.
15:39Hello, sir. Would you like something? Some candy, some pasta, something else?
15:43Well, the horchata is left.
15:45Clean it, please, before the gentleman can stain it.
15:47No, no, no need. I'll clean it.
15:49No, I'll clean it, it's my job.
15:51Well, bring me the most exquisite of your card.
15:55Regardless of how much it costs.
15:57Surprise me. My father pays.
15:59Remember, the most delicious thing you have.
16:01Interesting choice. I assure you that I will not let you down.
16:05Excuse me.
16:10Have you already spoken to Celia Gámez?
16:12No, the truth is that I can't get her to put on the phone.
16:15Yes, it is true that I have the contact of her representative.
16:18What happens is that this man is a bit ... embarrassed.
16:21Come on, let's not get along today.
16:23Well, I promise you that it will be worth it.
16:25Your presence will be a bomb.
16:27And I am convinced that there will be no newspaper that does not want to attend to take a picture.
16:31Yes, yes, I also think the same as you, but ...
16:34It's just that every time I see it more complicated.
16:36Yeah.
16:39Well, I don't know, maybe I can take a guest ... a little special.
16:44And can you tell me who you are talking about with so much mystery?
16:47Let's see, it has nothing to do with the ABD, but it has its audience.
16:52But until I'm insured ...
16:56You are very intrigued.
16:58But well, in the meantime, I will continue to try to contact that representative,
17:01but this time I will not call him.
17:03I will introduce myself in person and talk to him.
17:05Well, by the way, I haven't told you before, but if you want,
17:08I can put you in contact with a squad of workers to help you with the works.
17:13I have very good contacts in construction,
17:15and if you tell him that you are on my side, I'm sure he will give you half the price.
17:19The truth is that we would appreciate it very much.
17:21So if you can make that call, it would be great.
17:24Consider it done.
17:26Celia.
17:28Thank you very much, really, for everything you are doing for me.
17:31And you too, Laurita.
17:33Have a good day.
17:34Bye.
17:38No, no, no, no. Stop painting, huh?
17:41Yes.
17:42No, no, I just started.
17:43But then how could you have stained yourself so much? Again?
17:47Let me.
17:49Let me.
18:00Hey, it was just a joke.
18:02Do you forgive me?
18:04I like to be silly, but I'm telling you that I don't have a bad background, huh?
18:07I agree.
18:08The first thing you said.
18:09The second, I don't even know, I don't care.
18:13I would like to have a conversation with you.
18:15Yes, well, I don't know how it's going to be possible,
18:17because I don't feel like it.
18:19At least you could tell me what your name is.
18:22Leave me alone.
18:23Oh, what a beautiful name.
18:26I'll try again.
18:28What?
18:29That mine is, I'll try again.
18:37Wow, what a look.
18:40I wanted to ask you a question.
18:41How did we end up?
18:43Don't you think Miguel told you everything?
18:45No, of course not, man, I gave him my word.
18:49The girl's name is Marta.
18:59Coming here brings me very good memories.
19:02And seeing you makes my heart happy.
19:04You know it.
19:05You saw Don Fermín yesterday, right?
19:07Yes, I told him that I wanted to work here again.
19:12Not as an attendant, but to organize events and events in the upper part of the hall.
19:17Let's see what he says.
19:18Well, I hope he says yes.
19:20I would love to see you here again, I miss you a lot.
19:22And I'm not the only one, huh?
19:24And I miss you too.
19:25Especially you.
19:29Are you okay, honey?
19:32Yes.
19:33Antonio, these weeks have been very difficult.
19:36I'll take care of it.
19:38I'll take care of it, honey.
19:40When they accused your brother, it was terrible.
19:42Yes, and now we have to face that again.
19:46Life is taking its course with us.
19:48Yes, honey.
19:50But the bad streak, just like it comes, goes away.
19:54You have to look to the future.
19:57Yes.
19:58Yes, I hope this bad streak ends as soon as possible.
20:01Because the truth is that I don't know how much strength I have to endure this mess.
20:04You were a very strong woman.
20:06Very strong and very determined.
20:10Is there anything else, honey, that you want to tell me?
20:17I don't know.
20:18I don't know how Mr. Salvador found out that I'm the distributor of La Fajete.
20:22Well, I don't know, but he found out.
20:24And you got rid of a fat woman.
20:26Yes, yes, I got rid of a fat woman, but they gave me another one.
20:29What are you talking about?
20:30Well, because he wants me to straighten his son.
20:32And with the event that is done.
20:34So you can't sell strips, but you can be an institute.
20:38Come on, this man doesn't know how to get his son in trouble.
20:41And he says, well, let someone else do it.
20:43Well, what a choice, huh?
20:45Because you, with how soft you are.
20:47Man, Tini, soft, soft.
20:48I don't know if it's the word, but ...
20:50Come on, I don't see myself getting anyone in trouble.
20:53And much less Salvita, who is a professional vagrant.
20:56It must be recognized that in his thing he is the best.
20:58Well, what will happen if you don't get it?
21:01Well, my job is in danger, nothing less.
21:03Well, you have to do everything possible.
21:05Now we have to focus on the Cupid plan.
21:08That's the most important thing.
21:09But I wanted to be a bookseller.
21:10And in the end, I'm everything but that.
21:12Strip salesman.
21:13Institute.
21:14Actor.
21:15I'm going from bad to worse.
21:16Love, since we don't give a damn about the Cupid plan.
21:19I tell you that this boy is going to come out.
21:21And we're going to have to say that all this is the fruit of the Holy Spirit.
21:24You're right, you're right.
21:25The first thing is the first thing.
21:26Let's see, how do we start with the Cupid plan?
21:28Well, at first, falling in love.
21:31Well, making us fall in love.
21:33First of all, it has to be something believable.
21:36Very believable.
21:38Well, I'm already in love.
21:39No problem.
21:40I just have to let go of my passion.
21:43Hey, believable, love.
21:44Believable, believable, believable.
21:46We'll have to, I don't know.
21:49We'll have to look at each other.
21:52Make some kind of touch.
21:53As if it were a sudden love, right?
21:56Like an arrow.
21:58Like a sudden romance.
22:02I think we'll need a witness.
22:04Esperanza, Esperanza will be a good witness.
22:07Well, whatever you say.
22:08But you and me, Esperanza, a plan without cracks.
22:11Come on.
22:12No, no, don't worry.
22:13Because we'll have the perfect match.
22:17What?
22:19Honey.
22:23You can tell me whatever you want, you know.
22:25It's just that...
22:28Well, it's just that in this process I felt a little lonely.
22:31Íñigo and I have supported each other a lot, of course.
22:33But there have also been times when I've been left alone with my thoughts.
22:36Without knowing what the other person was thinking or what they regret.
22:41Don't you trust him?
22:42Of course I do.
22:44He's a wonderful man and he's been through a lot, but...
22:49I wonder if we get to know someone completely.
22:52Yeah.
22:54Well, we all have other things, right?
22:58No one is perfect.
23:00Maybe you're in a sadder, more tired moment and...
23:04And you can't show that happier side that you're used to, but...
23:09That's also marriage, isn't it?
23:12Yes.
23:13Show the less happy, sadder side of yourself.
23:17Yes, I respect their silences.
23:19I also have mine.
23:21And I'm not perfect, much less.
23:24It's just that you've been through a lot, honey.
23:26Yes, Íñigo.
23:27For a very short time.
23:31But you'll see how it all works out.
23:38Trini, honey, don't you think we've gone too far with Cañete?
23:43Don't worry, because you're going to ask him for a favor and he's going to say yes.
23:47I don't dare to say anything right now.
23:50I have enough to be in charge of Salvita.
23:52By the way, she's been alone for a long time.
23:54She's also put all the money in the bookshop.
23:56Well, okay.
23:58See you after lunch.
23:59Don't forget that we're going to start with the plan.
24:02The plan, I beg you.
24:03Yes.
24:09Cañete.
24:10Look, I was just looking for you.
24:12Tell me, Trini, what do you need?
24:14Well, you know that Don Fermín has taken away the rule that married women can't work in La Moderna, right?
24:20Well, we've decided that Miguel and I are not going to tell him that we're married.
24:25Yes.
24:26We're going to pretend that we're in love, that we're falling in love right now.
24:31And, well, we need you to help us.
24:33And I think you're the person who...
24:34No, no, no, no.
24:35I'm sorry, Trini, but I'm not in the mood for these games right now.
24:38Especially since what happened to me yesterday with Mrs. Lázara.
24:41What happened to Mrs. Lázara?
24:44Well, according to Teresa, Mrs. Lázara is after Don Fermín.
24:48But I don't know what to think.
24:50What's more, every time I think about it, I get sick.
24:53Well, if Teresa says it, it will be true.
24:55Because, besides, we always have a sixth sense with all these things.
24:59Well, she must have spoiled it with me.
25:02All that doesn't want to realize that I love her with all my soul.
25:05Cañete, I've told you many times that you have to give her time.
25:09And while you give her time, you could help us.
25:15Come on.
25:16Donabilia.
25:22Yes, yes, I'm here waiting for the confirmation.
25:26Do you like how I've done my makeup?
25:28Yes, yes, yes, you're very pretty.
25:30Well, and you've also practiced a lot, haven't you?
25:32Well, it's a very important night for Ñiego and I want to be up to it.
25:35Sure, and you're going with the artist you've chosen.
25:37Yes, although there's bad news.
25:39What?
25:40Celia Gámez's representative has called to say that she can't come.
25:44Perfect, thank you very much.
25:46See you later.
25:48Well, well, well.
25:50You don't know who's going to come to the party tonight.
25:53Not because of your face, at least Rodolfo Valentino, right?
25:56No, no, no, no.
25:57Nothing more and nothing less than Ernest Hemingway.
25:59Ernest what?
26:00And what is it?
26:01Because he has the name of a painter or a photographer.
26:04No, no, no, no.
26:05He's a North American writer.
26:07He was a correspondent in Paris.
26:08And you don't know how well he writes.
26:10The press is going to be stunned.
26:13That's great, thank you.
26:14Yes, yes, yes.
26:18So pretty.
26:23What do you think?
26:24I didn't know if I should wear this or the green one.
26:26You have so many dresses.
26:27Let's see, the truth is that all of these look good on you.
26:29But I like this one the most.
26:31Me too.
26:32But I like this one the most.
26:33Besides, I have a lot of affection for it.
26:35Well, I gave it to you.
26:37You're very pretty, but you're missing something, Marta.
26:39Something?
26:40Oh, Inés, don't tell me that.
26:41What it took me to put on this dress.
26:43No, no, no, I know where Inés is going.
26:45Marta, let yourself go.
26:47Of course, Carpe Diem.
26:48Look, you're missing some earrings.
26:55Look at them.
26:56Which ones?
26:57Well, look.
26:58I think these can look great on you.
27:02Do you think so?
27:03Yes.
27:08Inés, I'm sure you don't want me to stay here with you.
27:11I can go to El Arco any other day.
27:13No, no, no, no.
27:14And lose the great writer.
27:15No, no, no.
27:16Don't be silly.
27:17I'm serious.
27:18I'd rather be with you.
27:19Laurita, I'll be fine.
27:20Really.
27:21You promise me that you're going to enjoy yourself and that you'll drink something to my health.
27:24I promise.
27:25And what are you going to do?
27:27Well, I'm going to go to bed because I'm exhausted.
27:30Okay.
27:31Well, girls, if you're ready, let's go.
27:33Otherwise we'll be late.
27:34Ready.
27:35Come on.
27:36Let's go.
27:40Good night.
27:41Good night.
27:42Goodbye.
27:43Goodbye, Inés.
27:44Have a good time.
27:45Goodbye.
27:57Tini.
27:59Tini.
28:09You'll see.
28:10This is going to be phenomenal.
28:12Okay?
28:14I'm going to try, Tini.
28:15I'm going to try.
28:16But I'm not good at acting.
28:18Tini, I can do anything else.
28:20But acting?
28:22Okay.
28:23Take a deep breath.
28:24Okay?
28:25And repeat after me.
28:27The white cupid is going to be perfect.
28:29Yes.
28:30No, repeat it.
28:31The white cupid...
28:32The white cupid...
28:33The white cupid...
28:34But hold on.
28:35You don't know how much trouble I'm in at the bookshop.
28:37Am I on time?
28:38Yes, of course.
28:39But please, take that sweat off your face.
28:40No one falls in love like that.
28:42Are we all ready?
28:43Okay?
28:44Let's go, team.
28:45Everyone to their places.
28:46And, above all,
28:47first of all,
28:48naturalness.
28:49Okay?
28:50Let's go, Tini.
28:51Come on, Tini.
28:52Let's go.
28:55Let's go.
29:06Hey, Esperanza.
29:07How's the morning going?
29:08A lot of fuss in the living room?
29:10Well,
29:11the same as always.
29:13Why?
29:14Did the vampire tell you something?
29:16No, no, woman.
29:18But I have seen traces of candy
29:21there on those tables.
29:24I don't know.
29:25What kind of candy did you see?
29:27The floor is full.
29:28It's nice to see it.
29:29Yes, woman.
29:30I've seen it.
29:31It's where the bookshelf is.
29:33No, man.
29:34It's all clean.
29:35Look, I was going to tell you.
29:36I need for Antonia's wedding
29:38someone to sit people in the church.
29:40Will you take care of it?
29:44What are you doing?
29:45Are you listening to me?
29:46Yes, of course I'm listening to you, Antonia.
29:48I mean, Esperanza.
29:49And I thank you for asking me.
29:52But I have an idea.
29:54Why don't you propose it to the bookseller?
29:58He's very kind.
29:59He has a good job.
30:00Look at him.
30:01Look at him.
30:02I don't trust him.
30:04He's a rat.
30:06What does that have to do with it?
30:07Why does he do the job?
30:08Because he starts talking.
30:10People gather around him.
30:11A line is drawn.
30:12And then we don't fix anything.
30:14No, woman.
30:15Look at him.
30:16Look at him.
30:17Look at him.
30:18Look at him.
30:19Look at him.
30:20But, well,
30:21as you can see, you're in charge of sitting people.
30:23You're more dynamic for that.
30:26Besides, the godmother tells you.
30:28Don't yell at me, please.
30:30Look, you're a waiter.
30:32I was going to ask you.
30:33Maybe I'll start giving a few words at the banquet.
30:36When do I do it better?
30:37In the desserts?
30:38Before?
30:39After?
30:40Whenever you want, woman.
30:41The point is that the guests listen to you.
30:43Look, let's practice.
30:45And imagine that those tables over there are the guests.
30:49The table in the gallery?
30:51The high ones, where the bookshelf is.
30:54Yes.
30:59Oh, damn.
31:00What I just saw.
31:01What did you see, Esperanza?
31:02What did you see?
31:03Oh, what I just saw.
31:05Your friend.
31:06Putting his hand on the glass.
31:07He's going to find out.
31:11What is he doing?
31:12What is he doing?
31:13Putting his hand on the glass.
31:14He's not a little boy.
31:15He's not a little boy.
31:16He's not a little boy.
31:17Is he drinking something?
31:18Excuse me.
31:19Excuse me.
31:20Come on, man.
31:24Oh, my God.
31:26Oh, my God.
31:49Wait.
31:56Careful.
31:57sorry, are you okay?
31:58I'm fine.
32:00I thought you'd never come.
32:02You've always been really bad at keeping people waiting for you.
32:07You don't know how badly I wanted this moment to come.
32:10I thought I'd never see you again.
32:12I can't believe I am here with you.
32:14This isn't a dream.
32:15This isn't a dream.
32:16Please don't let anyone wake us up, and if they do, it'll be in a few minutes.
32:20What's wrong?
32:21What's wrong?
32:22I heard some voices and I got scared.
32:25Hey, it's normal. We're in a park.
32:28There are people talking, there are people walking.
32:30Cesar, please, if the police find you, I don't know what to do.
32:34Listen, no one's going to find me.
32:37They're not so smart to do it, nor am I so stupid to get caught.
32:40You look gorgeous.
32:43Cesar.
32:44You look gorgeous.
32:45Please, listen to me.
32:46What's wrong?
32:50The other day, a lieutenant came to see me because he wanted to know if you had contacted me.
32:56A lieutenant?
32:57Yes.
32:58Who?
32:59I don't know, a guy named Lorenzo, I think.
33:01He was asking me questions and he told me that you'd end up in prison or in the cemetery.
33:07Look at me.
33:09You know I'm a man of my word.
33:12Look at me.
33:14I'm not going to end up anywhere.
33:17What are you going to do? You can't go on like this.
33:19That's what I wanted to talk to you about.
33:23I'm going to New York.
33:25I have everything planned.
33:27In two days, I'll be boarding from Lugo.
33:30I'd like you to come with me.
33:33But honey, what are you saying?
33:35I'd like to invite you to the best banquets, to try the best wines,
33:39to see the most wonderful shows in the world.
33:43But I can only offer you to run away with a fugitive.
33:46No.
33:47You're not a fugitive.
33:49You're the love of my life.
33:51I want us to start from scratch.
33:54I want us to fulfill the dream we always had.
33:56To have a jazz club in New York, or in California, or wherever.
34:01I'd do anything to make you the happiest woman in the world.
34:04I don't need any of that, César.
34:07I only need you.
34:10But...
34:11I know it's complicated.
34:13You have a comfortable life in Madrid,
34:15and you can't be away from your uncle and your sister.
34:18I'm sorry I can't give you more days.
34:20I only have two.
34:23That lieutenant is looking for me.
34:29I promise I'll think about it.
34:32I promise I'll think about it.
34:34I promise.
35:02Don't bother yourself so much.
35:05Aren't you going to pick up the phone all day?
35:08Who isn't going to pick up the phone?
35:11Cecilia Gamed.
35:13A magazine star.
35:15I can't get in touch with her.
35:19Maybe she's busy with a show.
35:22Have you talked to her representative?
35:24No, I'm not going to talk to that impressive woman.
35:26She's a snob.
35:27Besides, I'm sure she hasn't been told anything about the show.
35:30At the end of the day,
35:32Madrid's reputation will be ruined.
35:34I want it and I can't.
35:36It's not all lost.
35:38I'm sure a lot of people will go.
35:40And if that's not the case,
35:42at least you've tried.
35:44It's too much for everything you're going through.
35:53Viñigo,
35:55you know how people in this city are.
35:57We'll have to keep in mind
35:59that we're going to be on the agenda constantly,
36:01or at least for a few days.
36:07What would have been worse
36:09if it hadn't been for you?
36:12If you didn't get to talk to Inspector Jiménez
36:15and tell him about the buttons,
36:17people would still suspect me.
36:20Is something wrong?
36:22I know this isn't a big deal,
36:25but you've been a bit worried lately.
36:32It's not what people think that worries me.
36:42So,
36:44you're not going to talk to him?
36:46No.
36:49Then what is it that worries you?
37:03There's something I haven't told you.
37:10I knew your jacket was missing a button
37:14long before the police showed up.
37:19What are you trying to tell me?
37:22That...
37:24when Inspector Jiménez found a button
37:27next to Carla's body,
37:29she already had what she wanted.
37:31That it was a test against you.
37:33Is that your jacket?
37:35Of course it's mine.
37:37Well, there's a button missing here.
37:39See?
37:41I'm sorry to tell you that the button found in the river
37:44is exactly the same as the others in the jacket.
37:46I think you're going to have to give me a lot of explanations.
37:49Yes, well, but...
37:51you yourself told the inspector
37:54that those buttons are very common
37:56and that half of the men in Madrid have them.
37:58That's why they rejected the test.
38:01That the button you found in the river
38:04is the most common button model in all of Spain.
38:07Virtually half of the men in Madrid's jackets
38:10use that button.
38:12That's the one of many police officers, by the way.
38:22It sounds familiar, doesn't it?
38:24You can buy it from hundreds of people
38:26in any merchant shop in Madrid.
38:28Inspector, that button could be anyone's.
38:33But it's not true.
38:36I lied.
38:39What do you mean, you lied?
38:41You're scaring me.
38:44None of those buttons were the same as the ones in your jacket.
38:47But you showed it to him yourself.
38:50But those buttons aren't yours.
38:52What do you mean they're not mine?
38:54They're not yours.
38:56I went to a merchant shop to buy buttons
38:58that were identical to those in your jacket.
39:08Come on.
39:10Come on.
39:12Come on.
39:38So...
39:40I lied to the police
39:42to cover for me.
39:49Why did you call me?
39:51I have a lot to do.
39:53I'll say it again,
39:55the security guards will be on strike tomorrow and the day after.
39:58I know that.
40:00I'm the manager of this salon and I know what's going on.
40:03What I expected from you was a solution.
40:05The only solution is to call another company
40:08so they can send another two security guards.
40:11Leave it to me.
40:13I just thought of something.
40:15Look, Mrs. Lázaro, I don't know what you're saying,
40:17but I was about to call.
40:19A salon like La Moderna can't be without security guards.
40:22I'll call. After all, it's my duty.
40:25I was already in charge, Mrs. Lázaro.
40:27Let me call so you can take care of the security.
40:29I said I'll call.
40:30Don't be stubborn.
40:31We have enough with the strikes that are ravaging the country.
40:34What do I do?
40:35You have nothing else to do.
40:37You can go home, it's time.
40:41Don't look at the time, that's indifferent.
40:43She spends too much time in the salon lately.
40:46What's wrong with that?
40:48I'm very committed to my job, you know that.
40:50And that's fine,
40:52but she should be more committed to her personal life.
40:55Excuse me?
40:57Don't take it the wrong way, Teresa.
40:59But it seems that she spends more time between these four walls than outside.
41:04And I'm worried.
41:06Well, don't worry so much.
41:09Because I have a lot of personal life.
41:12And very busy, besides.
41:14Well, very good.
41:16I'm glad.
41:18And besides, you know that the job of a manager
41:20is to be the first to arrive and the last to leave.
41:22That was before, when there was no manager.
41:26Luckily, now I'm the top manager in front of Don Fermín.
41:30So go there quietly.
41:34That way you can attend to that busy life.
41:57This can't be happening.
42:00This is a nightmare.
42:03And the worst of all is that you didn't tell me before.
42:07But what was I going to do?
42:09Ñigo, what was I going to do?
42:11There was no explanation for there to be a button.
42:14Say it.
42:16Say what you're thinking.
42:20What do you think?
42:22That I'm not innocent?
42:24Don't you realize that for me it's also very painful?
42:30I don't believe anything, Matilde. Nothing.
42:32What I least expected was for you to doubt me.
42:34Ñigo, I've helped you.
42:36I've helped you. They could have accused me of conspiracy
42:38or of covering up a crime.
42:40Or an accomplice.
42:42Do you really believe it?
42:45I know you're not.
42:47But there are things that don't make sense to me.
42:49Tell me.
42:50Do you really think I'm a murderer?
42:53I didn't say that.
42:56Well, you haven't denied it at any time.
42:59I can't trust you.
43:05And you don't have to come to Madrid tonight, Cabaret.
43:08I've had enough disappointments for today.
43:28I'm sorry.
43:41Ñigo, how are you?
43:43Why don't you have a drink and relax?
43:45The party has just begun.
43:47I wish you were right, Laurita,
43:49but as you can see, the place is not even half full.
43:52Well, because it's a party
43:54and people don't come to parties on time.
43:56Otherwise, it would be a meeting, right?
43:58By the way, I haven't seen Matilde yet.
44:00Isn't she coming?
44:02No, I don't think so.
44:04Why? Is she not feeling well?
44:06Exactly. She's not feeling well
44:08and has decided to stay at home.
44:11Well, I'm going to say hello to some customers.
44:14Thank you.
44:22And Matilde? Isn't she with Ñigo?
44:25No, she's not coming.
44:27I see. So she's taking care of everything else.
44:30Yes, but she's not feeling well.
44:32Meeting Matilde is not a good thing.
44:34Ñigo plays a lot.
44:36Ladies, I'm sorry to interrupt,
44:39but this is Ernest Hemingway,
44:41the writer I told you about.
44:43Oh, my God.
44:44Ladies.
44:47My pleasure.
44:49Nice to meet you, Mr. Hemingway.
44:51Do you mind if I call you Ernesto?
44:54Ladies, you can call me whatever you want.
44:57I know that my friends here didn't know your work,
45:00but it's something I'm going to solve immediately.
45:03I've commissioned the novel I'm writing here in our country,
45:05The Sun Also Rises.
45:07Rises.
45:08Rises.
45:09But that hasn't been published in Spanish.
45:13Well, I have my contacts abroad
45:16and I've been able to get a copy in English.
45:18In English?
45:19Well, it's hard for me to understand it in Spanish.
45:22In English, imagine.
45:23Well, but between the two of us,
45:25I'm sure we'll get along and understand something.
45:27Marta, you're going to love it.
45:28The description he makes of the sick people's parties
45:31is remarkable.
45:33I don't know anyone who has reflected it so well.
45:36Thank you very much for your words, miss.
45:38Thank you.
45:48Miss Garmet.
45:50It's an honor to have you here at Madrid Cabaret.
45:54I was talking to your representative
45:56and he told me you had the full schedule,
45:57that you couldn't come.
45:58And he was right.
45:59But how could I miss your night?
46:03Shall we take a picture?
46:04Yes.
46:08Let's do it.
46:17Antonia, it's Pietro.
46:18I'm coming.
46:28Hello.
46:29Hello.
46:30Hello.
46:36What's going on?
46:38Giancarlo won't be able to attend the wedding.
46:41What? Why?
46:43What's his problem?
46:44The problem is with the authorities.
46:47They won't let him leave the country
46:50because of his criminal history.
46:53But he has four little things.
46:55Yes, I know.
46:56But there's no other way, Antonia.
46:59If it's no, it's no.
47:02Pietro, I'm so sorry.
47:06I'm sorry.
47:07Do you know how important your son's presence was for you?
47:10A lot.
47:11But I'd rather not think about it.
47:13He said we should try to enjoy it.
47:17Then listen to your son.
47:19We're going to enjoy it.
47:20I'm sure it's going to be a beautiful day.
47:22I'm sure it will.
47:24Although there's still a lot to do,
47:26it will be a fantastic day.
47:30I'm leaving.
47:34Antonia.
47:35Yes.
47:36I wanted to ask you something.
47:38I'm going to wear the same dress I wore when I married Lucia.
47:43May she rest in peace.
47:45I think a new dress is too expensive.
47:48If you don't mind...
47:50No, no, no.
47:51On the contrary.
47:54I didn't know how to tell you this.
47:57I didn't know how to tell you this.
47:59But I also thought about marrying the dress I wore when I married Ramón.
48:05If you don't mind, I'm making some adjustments, some arrangements, but...
48:09Of course I don't mind.
48:11It will be beautiful.
48:14Thank you.
48:15And Marta?
48:16She's gone to Madrid Cabaret with Laurita and Celia.
48:19You know how happy I was.
48:22And have you spoken to Esperanza?
48:24No, I haven't been able to.
48:26There was a lot of fuss at La Moderna, but...
48:29I'll talk to her tomorrow.
48:32Tomorrow?
48:33Yes, tomorrow.
48:34Are you sure?
48:35Yes.
48:38Okay.
48:40Good night.
48:41Good night.
48:55Laura writes very well.
48:58It's not true.
48:59I have an idea, but then it's hard for me to express it and put it on paper.
49:02No, no, but that's practice.
49:04The important thing is to have a good idea.
49:07And what you have said is a very good idea.
49:09I said it to relax.
49:11No.
49:12Heart.
49:13How do you say...
49:14Heart.
49:15I say it from the heart.
49:16See?
49:17Why is it so hard for you to give a compliment?
49:19Ladies.
49:20For good ideas.
49:22Cheers.
49:23Cheers.
49:27Miss Rami, when Antonia sees the signature and the wedding dedication,
49:31how happy she will be.
49:34It will happen to her when she gets married.
49:52I love you.
50:03Matilde.
50:05Are you...
50:09Sorry.
50:11I'm very sorry.
50:18I'm sorry I let myself go.
50:20I shouldn't have doubted you. I'm sorry.
50:22I'm sorry you had to go through all that.
50:26Come here.
50:30It's not my fault.
50:32You have helped me, but...
50:34We have to be able to talk about anything.
50:37Honey, the problem has been that I have locked myself up.
50:40And I haven't shared your worries or mine.
50:42No, my love.
50:43I'm very sorry.
50:44No, you don't have to apologize for anything.
50:47If it weren't for you, I wouldn't be free.
50:49And really, I'm very sorry for everything you've been through.
50:53But...
50:54My love, I would like us to look ahead.
50:58The two of us, as always.
51:01As always.
51:08You don't know how happy it makes me that you're here.
51:11I thought you weren't coming.
51:12How could I leave you alone on such an important day for you?
51:20Thank you.
51:27For our love.
51:29For what we are.
51:31For what we will be.
51:33And because life smiles at us.
51:50I love you.
52:03What were you going to do?
52:05I remind you that this is the manager's competence.
52:08I am the one who has to ask the operator for an increase in production.
52:12Oh my God.
52:14The report made by the Iberian correspondent.
52:16Two whole pages covering the reopening of the Madrid-Cabaret.
52:19Well, and the rest of the newspapers didn't fall behind.
52:21All of them.
52:22They all echoed the event.
52:24I really don't know what he's up to.
52:25You don't know what he's up to?
52:26Well, I'll tell you.
52:28What he's up to is for you to sit on the left so that he gives up his position.
52:32Can you tell me what you're doing here?
52:34That's what I could ask you.
52:36I live here.
52:37I don't understand how Don Fermín is letting you seduce for this lady.
52:42Let's pretend I didn't say anything, please.
52:44Well, you did say it, Trini.
52:46Hey, I'm really telling you to shut up and don't say anything to anyone.
52:48And go, and I'll tell you right away.
52:50Agustín, what a surprise.
52:53What do you mean Agustín?
52:55Laurita, he's Agustín Comas.
52:56The theatrical producer who asked me to appear in the court of the pharaoh.
52:59I trust you, don't disappoint me.
53:02I never disappoint you, daughter.
53:04I hope so.
53:05As you told me, business has to go well for me to be able to work.
53:09As you told me, business has to go well for me to be able to work.
53:12You must have seen that the construction of the hotels in Bilbao and Barcelona is fundamental for the accounts.
53:18Yes, yes.
53:19It would be an important push.
53:23But that is not feasible at the moment, because there is a law on the ground that prevents it, dear.
53:28I'm willing to wait for whatever it takes.
53:30But I don't want you to waste your time waiting for me.
53:33I should look for your new protagonist.
53:35You are my leading actress.
53:38I don't want to find anyone else.
53:40I think we should solve the godfather thing.
53:42The godmother, I think, right?
53:44You know what I think.
53:46Couldn't you reconsider it?
53:48No, Antonia, I'm sorry.
53:49I can't change my mind.
53:51I don't have much time.
53:53One thing is to take risks and another thing is to put a life on my back.
53:56I need you to tell me if you have made a decision.
53:59You know, leaving Spain like this, so hastily, well ...
54:08I don't know.
54:20It's just that with my salary I can't afford to move in with Antonia.
54:24Mrs. Lázara told me about an increase and ...
54:27And you want me to make cash, of course.
54:29Please.
54:30This door, I don't know why it doesn't open.
54:35I can't believe it.
54:37I just closed the sliding door from the outside.
54:40I think it's time for you to go back to school.
54:42Don't you think?
54:44And I'll be in the newspapers and ...
54:47No one is going to mess with you.
54:49What you want is to get rid of me.
54:51That's why you want me to go to school.
54:53I think the best thing is for us to get comfortable,
54:56because it's going to be a very long night.
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