Salón de té La Moderna - Ep 193
Salón de té La Moderna - Ep 193
Transcript
00:00A FEW HOURS LATER
00:12I've hurt you too much.
00:14I didn't want to leave without telling you that I love you.
00:16And you?
00:17No, no, no.
00:18I'm with you.
00:26Inés, what are you thinking about?
00:28Nothing.
00:29I was thinking that I shouldn't talk too much
00:33so that my recovery is faster.
00:35I see.
00:36What 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.
00:57They prefer to keep quiet to cover their backs.
01:01Yes.
01:02You should have seen his face.
01:04It was as if he didn't want to tell me that it looked terrible.
01:07Well, maybe he didn't want to sign anything without doing all the tests.
01:11That's what he said about you.
01:13Without 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.
01:22You have to give him a chance, Inés.
01:25That doctor is an eminence.
01:27He's cured many singers, hasn't he?
01:52Inés.
01:58How are you, daughter?
02:01Mother, don't worry so much and don't underestimate me.
02:04I plan to endure whatever it takes until I can execute my revenge.
02:09Daughter, I understand your feelings and your anger.
02:12But are you really going to ruin your life just because you have...
02:15Just to do justice?
02:17I think it's more than enough reason.
02:20Carla, dear.
02:22Why don't you try to forget?
02:24Forget everything.
02:26You've suffered a lot.
02:29You could start a new life, leave.
02:31Leave all this behind.
02:33I have everything, everything prepared.
02:35You just choose the day and you've done the rest.
02:38Mother, I know you're trying to protect me and you think that's best for me.
02:42But I've already told you.
02:44I'm not going to run away.
02:46Don't be so capricious, daughter.
02:49Are you really going to ruin your existence because of a bastard who broke your heart?
02:52He's going to remember me for the rest of his life.
03:00Haven't you suffered enough already, daughter?
03:04I've already decided.
03:06And I would like to be able to count on his help.
03:10I just ask you to think about it a little more before getting involved in this.
03:13It's more than I thought.
03:16So don't try to convince me because it's useless.
03:23I know you're not clear about it.
03:25But I'm very clear that you're going to go back on stage.
03:28And you'll leave all your audience stunned.
03:32I prefer not to get my hopes up, Laurita.
03:34Because 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. I'd rather stay at home.
04:02I don't want to spread my mood to either of you.
04:05Are 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 keep an eye out.
04:41Yes?
04:42Inés, how are you?
04:44Bésar.
04:46I've been thinking about you all day.
04:48Remember we met this afternoon?
04:50Yes, yes, yes, of course I remember.
04:53I haven't slept thinking about seeing you.
05:00Well, look at the documents I left you.
05:06I asked Fabio for what you wrote down in the contract I gave him.
05:10I asked for a 5% increase in the price of the rent of the buildings in Seville.
05:14A 5%?
05:16I asked for a 10%.
05:19I don't know how Fabio is going to take that increase.
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.
05:31Tell him to change it.
05:33Listen to me, daughter.
05:35Without a company, without benefits and without liquidity,
05:39there is no money.
05:40And 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 is good to shorten it.
05:53I'll see what I can do with Fabio and the issue of percentages.
06:09I don't know.
06:16Antonia, don't take too long and give me the guest list.
06:19How am I not going to go to the printing house to order the invitations?
06:22Well, I have a lot of things in my head, Esperanza.
06:25So many that I don't even know where to start.
06:27Well, make a list and give me the first one.
06:30Yes, yes.
06:31I'm sorry, 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 tell us.
06:40Well, well, order, order.
06:41If 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, you don't have to take care of everything.
06:51I can also do things.
06:53And here Elías also wants to help.
06:54Antonia, as long as you focus on being beautiful and be happy.
06:57Well, and make me the guest list.
06:59Elías, are you invited?
07:01Of course.
07:02But if I know how to add all the sauces, Esperanza.
07:06By the way, Antonia, there will be a dance, right?
07:09I told you to ask me the questions.
07:11Well, I'll do it to you.
07:12There will be a dance, right?
07:13I imagine there will be a dance in your wedding.
07:14Because dancing is the most important thing.
07:15Apart from the boyfriends.
07:16Please, you don't have to put it in your chest, Esperanza.
07:19Come on, hurry up.
07:20That Spain does not get up alone to work.
07:22Well, write down the dance.
07:23Yes, I'll write it down.
07:24Come on, man.
07:26Don't worry, Antonia, I have everything under control.
07:29It's just that I couldn't have chosen a better godmother than me.
07:32Well, I'm leaving, because apart from solving the wedding,
07:35I also have to do my job.
07:37Of course.
07:38Oh, look at him.
07:39Since he's been engaged, I don't see him as ugly as before.
07:54Salvita.
07:57If you like,
07:58could you lend me a hand 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,
08:24my father is coming to talk to you later.
08:26So 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 like to talk a lot and I leave right 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, you don't have to, because he's coming.
08:51So...
08:52I was about to tell you, but...
08:55Hey, a piece of advice.
08:57Don't deny what is obvious.
08:58That makes my father angry, 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 bag.
09:13Well, me too, because I don't know what it is.
09:17Are you sure, Miguel?
09:19Yes.
09:22Well, yes.
09:23I have an idea.
09:25In that case, I'm willing to listen to everything you have to tell me.
09:32Let's see, Don Salvador.
09:34Due to circumstances that do not apply,
09:37I saw myself in the need to complement the salary of the bookshop
09:41with an additional income.
09:43Yes.
09:44That's why I had to look for a job.
09:48I'm selling boxes in my bookshop.
09:51Please don't fire me.
09:53I beg you, Don Salvador.
09:55I won't sell boxes 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, and I'm very ashamed.
10:14I can't tell you that you're right, and I'm sorry.
10:17Salvita.
10:18Please leave us alone for a moment.
10:22Well, I'll go to the bookshop to buy a book.
10:25But don't take too long.
10:27I still have a lot of inventory left.
10:33I didn't want you to get rid of the threat of fire, 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, boxes.
10:49In short, they squeeze and what's the point?
10:51There's something I could do to forgive him
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 fool.
11:09Make him a man of his word.
11:11Even try to instill in him a habit
11:14that goes beyond playing the tambourine and going around with girls.
11:20And if I don't get it?
11:23And if you don't get it,
11:25I'll suddenly remember that you've been selling cards in my bookshop.
11:32Deal?
11:36It's over.
11:37Good afternoon.
11:41Good afternoon.
11:48But when are you going to tell Esperanza
11:50that she won't be the subject of our wedding?
11:52I swear I haven't been able to.
11:54She's very excited, it's like she's going to marry her.
11:57But don't worry, I'll do it.
12:00Good.
12:01As soon as possible, please.
12:03The more excitement there is, the harder the deception will be.
12:07If I think this woman will take me by the arm to the altar,
12:10I'll get cold sweats.
12:11I think you're exaggerating a little, right?
12:14But don't worry, I'll do it, I promise.
12:17Hey, have you found a way to tell your son, by the way?
12:20Yes.
12:21Yes?
12:22Yes, yes.
12:23They gave me the number of a tavern in the town where I live now.
12:25When I can, I'll call him.
12:26Oh, I hope I can come.
12:28It will make you just as excited to marry me.
12:31Yes, it would make me very excited.
12:34I'm thinking about something.
12:35You told me yesterday that you will miss not living in La Corrala, right?
12:40Well, yes.
12:41But don't worry about that either.
12:44One does everything.
12:46We could rent the apartment where Matilde's family lives.
12:50It's free.
12:51It's true?
12:53Oh, and we 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.
13:03Oh, I would be very excited to be able to stay after our wedding.
13:08Thank you.
13:10Three, four, five, six, seven.
13:31Of course, painting is not your thing.
13:33Why do you say that?
13:34Well, because you have more paint on your face than you've put on the walls.
13:37Oh no, those are details.
13:38Oh, yes, details.
13:39And why don't I finish painting and you finish making the inventory?
13:43And that 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, not at all.
13:48I'm going to keep painting.
13:50By the way, I want to go for a walk with my brother later.
13:54Before going to the Madrid-Cabaret party.
13:56He has a lot of memories of that place and he doesn't want to come back.
14:02Good morning.
14:04I see you are preparing the opening.
14:06Yes, the truth is that we are a little busy.
14:09And how are you? Nervous?
14:11Nervous?
14:12Well, the truth is that a little, yes.
14:14I play a lot at this party.
14:16And if it doesn't go well, that will mean that people have turned their backs on Madrid-Cabaret and with what that entails.
14:21But 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 have spoken to four newspapers that have confirmed his attendance.
14:37Let's see if I'm going to have to change the name of the place.
14:39Call him Celia Cabaret.
14:41Well, well, first we are going to fill it up and when it is very successful, then you can still choose a poster that puts my name.
14:54Hello.
14:55Hello.
14:57Hey, I wanted to apologize for yesterday's incident.
15:02I was not fine. I hope you don't think I wanted to make fun of you.
15:06I don't even remember.
15:08It's just that as soon as I see the occasion, I think I'm going to make a fuss.
15:12That's how I am.
15:14Yeah, well, they pay me to clean, not to give a stick to the customers.
15:18Well, girl, I'm more of a partner.
15:21Don't you see that I work in the bookstore?
15:23Well, work, work. And I see you here as a girl.
15:26Well, that. Much better here, with you.
15:30Oops, what a bad leg.
15:33You just threw the bet. I'm not going to clean it.
15:36No, it was unintentional.
15:37No, it was unintentional.
15:39Hello, sir. Do you want something, some candy, some pasta, something else?
15:44Well, the horchata has fallen. Clean it, please, before the gentleman can get dirty.
15:48No, no, no need. I'll clean it.
15:49No, I'll clean it, it's my job.
15:52Well, bring me the most exquisite of your menu, regardless of what it costs.
15:57Surprise me.
15:58My father pays. Remember, the most delicious you have.
16:01Interesting choice. I assure you that I will not let you down. Excuse me.
16:10Have you already spoken to Celia Gámez?
16:12No, the truth is that I can't get her 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 ... clumsy.
16:21Come on, let's not get carried away today.
16:23Well, I promise you that it will be worth it.
16:25His 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 of him.
16:32Yes, yes, I also think the same as you, but ...
16:34It's just that I see it more and more complicated.
16:36I see.
16:39Well, I don't know, maybe I can take a slightly special guest.
16:45And can you tell me who you are talking about with so much mystery?
16:47Let's see, it has nothing to do with the BBC, but it has its audience.
16:51But until I'm sure, I ...
16:55You are very intrigued.
16:58But well, in the meantime, I will continue to try to contact that representative, but this time I will not call her.
17:02I will introduce myself in person and talk to him.
17:05Well, by the way, I haven't told you before, but if you want, I can put you in contact with a squad of workers to help you with the works.
17:12I have very good contacts in construction and if you tell him that you are on my side, I'm sure he will give you half the price.
17:18Well, the truth is that we would appreciate it very much.
17:20So if you can make that call, it would be great.
17:23Consider it done.
17:25Celia, thank you very much for everything you are doing for me.
17:30And you too, Laurita.
17:32Have a good day.
17:33Goodbye.
17:38No, no, no, no, you stop painting, huh?
17:40Yes.
17:41Yes.
17:42No, no, I just started.
17:43But then how can it be that you have stained so much, again?
17:46Let me.
17:59Hey, it was just a joke.
18:02Do you forgive me?
18:04I like to be silly, but I tell you that I don't have a bad background, huh?
18:07No, I agree.
18:08In the first thing you said.
18:09In the second, I don't even know, I don't care.
18:12I would like to have a conversation with you in peace.
18:15Yes, well, I don't know how it's going to be possible because 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 will try again.
18:28What?
18:29That mine is I will try again.
18:37Wow, what a sight.
18:40I wanted to ask you a question.
18:41How did we meet?
18:43Don't you think Miguel told you everything?
18:46No, of course not, man.
18:47I 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 that.
19:05You saw Mr. Fermin yesterday, right?
19:07Yes, I told him that I wanted to work here again.
19:12Not as a waitress, 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 very much.
19:22And I'm not the only one, huh?
19:24And I miss you too.
19:25Especially you.
19:29Are you okay?
19:30Honey?
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.
19:42Well, yes, 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 bad streak.
20:05You are a very strong woman.
20:07Very strong and very determined.
20:12Is 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 a distributor of Lafajete.
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.
20:35So you can't sell fakes, 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 I'm 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'll 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, and in the end I'm all but that.
21:12Salesman, institute, actor.
21:14I'm going from bad to worse.
21:16Honey, since we don't give a damn about this 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.
21:25But first things first.
21:26Let's see, how do we start with the Cupid plan?
21:28Well, at the beginning.
21:30Falling in love.
21:31Well, pretending to fall in love.
21:33And above all, it has to be something credible.
21:36Very credible.
21:38Well, I'm already in love.
21:40No problem.
21:41I just have to let go of my passion.
21:43Hey, credible, love.
21:44Credible, credible, credible.
21:46We'll have to, I don't know.
21:48Well, we'll have to look at each other.
21:52As if it were some kind of touch.
21:54As if it were a sudden love, right?
21:57Like an arrow.
21:58Like a sudden romance.
22:03I think we'll need a witness.
22:05Esperanza, Esperanza.
22:06It will be a good witness.
22:07Well, whatever you say.
22:09But you and me, Esperanza.
22:10A plan without cracks, come on.
22:12Well, don't worry.
22:13Because we'll have the perfect match.
22:17What?
22:20Honey.
22:23You can tell me whatever you want.
22:24You already know.
22:25It's just that...
22:28Well, it's just that in this process I've felt a little lonely.
22:31Ñigo 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.
22:39Or what they're regretting.
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...
22:48I wonder if we get to know someone completely.
22:51Yeah.
22:54Well, we all have our things, right?
22:57Nobody is perfect.
23:00Maybe you're in a sadder, more tired moment and...
23:04And you can't show that happier part that you're used to, but...
23:09That's also marriage, right?
23:12Yes.
23:13Show the less cheerful, sadder part of yourself.
23:18Yes, I respect his silence.
23:20I also have mine.
23:22And I'm not perfect, much less.
23:25Eka goes through a lot, honey.
23:27A lot in a very short time.
23:31But you'll see how it all works out.
23:38Trini, honey.
23:39Don't you think we've helped Cañete enough?
23:41Poor man.
23:43Don't worry.
23:44You're going to ask him for a favor and he'll say yes.
23:47I don't dare to say anything right now.
23:49I have to take care of Salvita.
23:52By the way, she's been alone for a long time.
23:54She's also put all the money in the library.
23:56Okay.
23:58See you after lunch.
23:59Don't forget we're going to start with the plan.
24:02The plan.
24:03I beg you.
24:04Yes.
24:09Cañete.
24:11Look, I was just looking for you.
24:13Tell me, Trini, what do you need?
24:15Well, you know that Mr. Fermin has taken away the rule
24:18that married women can't work at La Moderna, right?
24:21Well, we've decided that Miguel and I
24:23are not going to tell him that we're married.
24:26Yes, we're going to pretend that we're in love,
24:29that we're falling in love right now.
24:31And, well, we need your help.
24:33And I think you're the right person.
24:35No, no, no, I'm sorry, Trini.
24:37But I'm not in the mood for these games right now.
24:39It's because of what happened to Mrs. Lázara yesterday.
24:41What happened to Mrs. Lázara?
24:46Well, according to Teresa,
24:48Mrs. Lázara is after Mr. Fermin.
24:50But I don't know what to think.
24:52What's more, every time I think about it,
24:54I feel sick.
24:56Well, if Teresa says so, it must be true.
24:58Because, besides, we always have a sixth sense
25:00with all these things.
25:02Well, she must have spoiled it with me.
25:04That's why she doesn't want to realize
25:06that I love her with all my soul.
25:08I've told you many times
25:10that you have to give her time.
25:12And while you give her time,
25:14you could help us.
25:18Come on.
25:19I'm skilled.
25:25Yes, yes, I'm here waiting for the confirmation.
25:29Do you like how I've done my makeup?
25:31Yes, yes, yes, you look very pretty.
25:33Well, you've also practiced a lot, haven't you?
25:35Well, it's a very important night for Inigo
25:37because he has to be up to the task.
25:39Sure, and more so with the artistry he will have called.
25:41Yes, although there is bad news.
25:43What?
25:44Celia Gámez's representative has called
25:46to say that she can't come.
25:48Perfect, thank you very much.
25:50See you later.
25:52Well, well, well.
25:54You don't know who is going to come
25:56to the party tonight.
25:58Not for your face, at least Rodolfo Valentino, right?
26:00No, no, no, no.
26:01Nothing more and nothing less than Ernest Hemingway.
26:03Ernest what?
26:05Because he has the name of a painter or photographer, right?
26:07No, no, no, no.
26:08He is a North American writer.
26:10He was a correspondent in Paris.
26:11And you don't know how well he writes.
26:13The press is going to be stunned.
26:15How nice.
26:17Yes, yes, yes.
26:21How handsome.
26:25How do you see it?
26:27I didn't know if I should wear this or the green one.
26:29You have so many dresses.
26:30Let's see, the truth is that all of these look good on you.
26:32But I like this one the most.
26:34Because I gave it to you.
26:36You are very handsome, but you are missing something, Marta.
26:38Something?
26:40Inés, don't tell me that.
26:42It took me a long time to put this dress on.
26:44No, no, I know where Inés is going.
26:46Marta, let yourself go.
26:48Of course, Carpe Diem.
26:50Look, you are missing some earrings.
26:54Look.
26:56Which one should I choose?
26:58Well, look, I think these
27:00can look very good on you.
27:02Do you think so?
27:08Inés, I'm sure you don't want me to stay here with you.
27:12I can go dancing any other day.
27:14No, no, no, and to see the great writer.
27:16Don't be silly, I'm serious.
27:18I prefer to be with you.
27:20Laurita, I'll be fine, really.
27:22You promise me that you are going to enjoy yourself
27:24and that you will drink something to my health.
27:26I promise.
27:28And what are you going to do?
27:30Well.
27:32Well, girls, if you are ready, let's go.
27:34Otherwise we will be late.
27:36Ready.
27:38Let's go.
27:40Have a rest.
27:42Bye.
27:44Bye, Inés.
27:46Have a good time.
28:00You will see.
28:02This is going to be great.
28:04Do you agree?
28:06I'm going to try, Trini, I'm going to try.
28:08But I'm not a good actor.
28:10Trini, I can do anything else,
28:12but I'm not a good actor.
28:14Well, you take a deep breath,
28:16calm down and repeat after me.
28:18The plan Cupid is going to be perfect.
28:20Yes.
28:22No, no, no, no.
28:24No, no, no, no.
28:26No, no, no, no.
28:28The plan Cupid is going to be perfect.
28:30Yes.
28:32No, you repeat it.
28:34The plan Cupid is going to be perfect.
28:36But you don't know the mess I have in the bookstore.
28:38Am I on time?
28:40Yes, of course.
28:42But please, get that sweat out of there,
28:44so no one falls in love.
28:46Are we all ready?
28:48Let's go, team.
28:50Everyone to their places.
28:52And above all, first of all,
28:54naturalness.
28:56Let's go.
29:06Well, Esperanza,
29:08how's the morning going?
29:10A lot of fuss in the living room?
29:12Well, the same as always.
29:14Why?
29:16Has the vampire told you something?
29:18No, no, woman.
29:20But I have seen traces of candy
29:22around those tables.
29:24I don't know what kind of candy you have seen.
29:26The floor is so nice to see.
29:28Yes, woman,
29:30I have seen it where the bookshelf is.
29:32No, man, everything is clean.
29:34Look, I was going to tell you,
29:36I need for Antonia's wedding
29:38someone to sit people in the church.
29:40Are you busy?
29:44What are you doing? Are you listening to me?
29:46Yes, of course I listen to her, Antonia.
29:48I mean Esperanza.
29:50And I thank her for asking me.
29:52But I have an idea.
29:54Why don't you propose it
29:56to the bookseller?
29:58He's very kind, he has a good plan.
30:00Look at him.
30:02I don't trust him.
30:04He's a big rat.
30:06What does that have to do with the task?
30:08Because he starts talking,
30:10people gather around him,
30:12and then we don't fix anything.
30:14No, woman, look at him.
30:16Look at him, look at him, look at him.
30:18What's wrong with you?
30:20Let's see, you're in charge of sitting people.
30:22You're more dynamic for that,
30:24and that's it.
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,
30:34maybe I'll start giving a few words at the banquet.
30:36When do I do it better?
30:38At dessert? Before? After?
30:40Whenever you want, woman.
30:42The point is that the guests listen to you.
30:44Look, let's practice.
30:46And imagine that those tables over there
30:48are the guests.
30:50What table? The one in the gallery?
30:52The high ones, where the bookshelf is.
30:54Yes.
31:00What I just saw.
31:02What did you see, Esperanza?
31:04Your friend,
31:06putting his hand on the glass,
31:08will find out.
31:12What is he doing?
31:14Putting his hand on the glass?
31:16Is he drinking something?
31:18No.
31:20Excuse me.
31:22Come on, man.
31:24My God.
31:46Be careful.
31:56Be careful.
31:58I'm sorry. Are you okay?
32:00I'm fine.
32:02I thought you'd never come.
32:04You've always been bad at making me wait.
32:06You don't know how eager I was
32:08to get to this moment.
32:10I thought I'd never see you again.
32:12I can't believe I'm here with you.
32:14This isn't a dream.
32:16If it is, please don't wake us up.
32:18If they do, it'll be in a few minutes.
32:20What's wrong?
32:22I heard some voices and I got scared.
32:24Hey.
32:26It's normal. We're in a park.
32:28There are people talking.
32:30There are people walking.
32:32If the police find you, I don't know what to do.
32:34Listen.
32:36No one will find me.
32:38They're not smart enough to do it,
32:40and I'm not stupid enough to get caught.
32:42Cesar.
32:44How beautiful.
32:46Please listen to me.
32:48What's wrong?
32:50The other day,
32:52a lieutenant came to see me
32:54because he wanted to know if you'd contacted me.
32:56A lieutenant?
32:58Yes.
33:00Who?
33:02I don't know. Lorenzo.
33:04He was asking me questions
33:06and he said you'd end up in prison or in the cemetery.
33:08Look at me.
33:10I'm a man of my word.
33:12Look at me.
33:14I'm not going to end up anywhere.
33:16What are you going to do?
33:18You can't go on like this.
33:20That's what I wanted to talk to you about.
33:22I'm going to New York.
33:24I have everything planned out.
33:26I'll board the ship in two days.
33:30I'd like you to come with me.
33:32But honey,
33:34what are you saying?
33:36I'd like to invite you to the best banquets,
33:38to try the best wines,
33:40to see the most wonderful shows in the world.
33:42But I can only offer you
33:44to run away with a fugitive.
33:46No.
33:48You're not a fugitive.
33:50You're the love of my life.
33:52I want us to start from scratch.
33:54I want us to fulfill the dream
33:56we've always had.
33:58To have a jazz club in New York,
34:00or in California, or anywhere.
34:02I'd do anything to make you
34:04the happiest woman in the world.
34:08I don't need any of that, Cesar.
34:10I only need you.
34:12But...
34:14I know it's complicated.
34:16You have a life in Madrid
34:18and you can't be away from your uncle and your sister.
34:20I'm sorry I can't give you more days.
34:22I only have two.
34:26That lieutenant is looking for me.
34:32I promise I'll think about it.
34:34I promise.
34:38I promise.
35:04Don't bother yourself.
35:06She's not going to pick up my phone all day.
35:10Who's not going to pick up your phone?
35:12It's Celia Gámez.
35:14A magazine star.
35:16I can't get in touch with her.
35:20Maybe she's busy with a show.
35:22Have you talked to her representative?
35:24No, I'm not going to talk to that unrepresentable guy.
35:26He's a snob.
35:28Besides, I'm sure
35:30he hasn't told her anything about the party.
35:32In the end,
35:34Madrid's reputation will be ruined.
35:36I can't do it.
35:38It's not all lost.
35:40I'm sure a lot of people will go.
35:42And if it's not like that,
35:44at least you've tried.
35:46It's too much for everything you're going through.
35:54Viñigo,
35:56you know
35:58how people in this city are.
36:00We have to keep in mind
36:02that we have to be on the lookout constantly.
36:04Or at least for a few days.
36:10What would have been worse
36:12if it hadn't been for you?
36:14If you didn't get to talk
36:16to Inspector Jiménez
36:18and tell him about the buttons,
36:20people would still
36:22suspect me.
36:26Is something wrong?
36:28No.
36:30I know this isn't a big deal,
36:32but lately you've been a bit worried.
36:40It's not what people think.
36:42It's what worries me.
36:50Then what is it that worries you?
36:58Nothing.
37:04Is there something I haven't told you?
37:10I knew your jacket
37:12was missing a button
37:14long before the police showed up.
37:20What are you trying to tell me?
37:22That...
37:24that when Inspector Jiménez
37:26found a button
37:28next to Carla's body,
37:30she already had what she wanted.
37:32That it was a test against you.
37:34Is that your jacket?
37:36Of course it's mine.
37:38Well, it's missing a button here.
37:40I'm sorry to tell you
37:42that the button I 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
37:48a lot of explanations.
37:50Yes, well, but
37:52you yourself told the inspector
37:54that buttons are very common
37:56and that half of the men in Madrid have them.
37:58That's why they rejected the test.
38:00That the button you found
38:02in the river
38:04is the most common button model in all of Spain.
38:06Virtually half of the jackets
38:08in Caballero de Madrid use that button.
38:10Among them,
38:12those of many police officers, by the way.
38:20That's the truth.
38:22That's what it sounds like, right?
38:24You can buy hundreds of them
38:26at any grocery store in Madrid.
38:28Inspector, that button
38:30could be anyone's.
38:32But it's not true.
38:36I lied.
38:40How did you lie, my love?
38:42You're scaring me.
38:44I mean, none of those buttons
38:46were the same as those in your jacket.
38:48But you showed it to her yourself.
38:50But those buttons aren't yours.
38:52What do you mean they're not mine, my love?
38:54They're not yours.
38:56I myself went to a grocery store
38:58to buy buttons that were identical
39:00to those in your jacket.
39:20So...
39:38So...
39:40you lied to the police
39:42to cover for me.
39:44To cover for you.
39:48Okay, so why'd you make me call?
39:50I'll remind you that I have a lot to do.
39:52I'll tell you again, Ms. Lazara.
39:54The security guards at the gallery
39:56will be on duty tomorrow and the day after tomorrow.
39:58But I already know that.
40:00I'm the manager of this salon and I know everything that happens.
40:02What I expected of you
40:04was a solution.
40:06Well, the only solution is for us to call
40:08another company that I have here on the phone
40:10to send the other two security guards.
40:12Well, leave it to me. I've just thought of something.
40:15Look, Mrs. Lázara, I don't care what you say, but I was about to call.
40:19A salon like La Moderna can't be without surveillance.
40:21I'll call. After all, it's my duty.
40:25Yes, I was already with the management, Mrs. Lázara.
40:27Let me call and you'll take care of the surveillance.
40:29I told you I'll call. Don't be stubborn.
40:31We have enough with the strikes that are ravaging the country.
40:34Look, if you have nothing else to do, you can go home. It's time.
40:39Don't look at the time. That's indifferent.
40:42Lately, I've been spending too much time in the salon.
40:45Well, what's wrong with that?
40:47I'm very committed to my job, you know that.
40:49And that's fine, but you should be more committed to your personal life.
40:54Excuse me?
40:55Don't take it the wrong way, Teresa.
40:58But it seems that you spend more time between these four walls than outside.
41:03And I'm worried.
41:05Well, don't worry so much.
41:08Because I have a lot of personal life.
41:11And very busy, besides.
41:13Ah, well, very good.
41:15I'm glad.
41:17And besides, you know that the job of a manager is to be the first to arrive and the last to leave.
41:21That was before, when the figure of the management did not exist.
41:25Luckily, now I am the highest responsible for Don Fermín.
41:29So go there quietly.
41:33That way you can have that busy life.
41:38Bye.
41:57This can't be happening to me.
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?
42:08Ñigo, what was I going to do?
42:10There was no explanation for there to be a button.
42:13Tell me.
42:15Tell me what you're thinking.
42:19What do you think?
42:21That I'm not innocent?
42:22Don't you realize that for me it is also very painful?
42:29I don't believe anything, Matilde. Nothing.
42:31What I least expected was that you doubted me.
42:33Ñigo, I've helped you.
42:35They could have accused me of conspiring or covering up a crime.
42:39Or an accomplice.
42:41Do you really think so?
42:45I know you're not.
42:47But there are things that don't fit me.
42:48Tell me.
42:49Do you really think I'm a murderer?
42:53I didn't say that.
42:55Well, you didn't deny it at any time.
42:59I can't trust you.
43:06And you don't have to come to Madrid tonight, Cabaret.
43:08I've had enough disappointments for today.
43:36Ñigo.
43:37How are you?
43:38Why don't you have a drink and relax?
43:40The party has just begun.
43:42I wish you were right, Laurita.
43:44But as you can see, the place is not even half full.
43:47Well, because it's a party and people don't come to parties on time.
43:51Otherwise it would be a meeting, right?
43:53By the way, I haven't seen Matilde yet.
43:56She's not coming?
43:57No.
43:58I don't think so.
43:59And why is that? Is she not feeling well?
44:01I don't know.
44:02I don't think so.
44:03And why is that? Is she not feeling well?
44:05Exactly.
44:06She's not feeling well and has decided to stay at home.
44:10Well, I'm going to say hello to some customers.
44:13Thank you.
44:22And Matilde?
44:23Isn't she with Ñigo?
44:24No, she's not coming.
44:25That's it.
44:26So she's supporting you in everything that can go wrong.
44:29Yes, but she's not feeling well.
44:30Meeting Matilde is not a good idea.
44:32Ñigo plays a lot.
44:35Ladies.
44:36I'm sorry to interrupt, but this is Ernest Hemingway.
44:40The writer I told you about.
44:42Oh my God.
44:43Ladies.
44:46My pleasure.
44:48Nice to meet you, Mr. Hemingway.
44:50Do you mind if I call you Ernesto?
44:53Ladies, you can call me whatever you want.
44:56I know that my friends here didn't know your work,
44:59but it's something I'm going to solve right away.
45:02I've commissioned the novel I'm setting up here in our country,
45:05The Sun Also Rises.
45:06Rises.
45:07Rises.
45:08But that hasn't been published in Spanish.
45:12Well, I have my contacts abroad,
45:15and I've been able to get a copy in English.
45:17In English?
45:18Well, if it's hard for me to understand it in Spanish,
45:21imagine it in English.
45:22Well, but between the two of us,
45:24we'll figure it out and we'll understand something.
45:26Marta, you're going to love it.
45:27The description he makes of the sick people's parties is remarkable.
45:32I don't know anyone who has reflected it so well.
45:35Thank you very much for your words, miss.
45:47Miss Garment.
45:49It's an honor to have you here at Madrid Cabaret.
45:53I was talking to your representative,
45:55and he told me you had a full schedule and couldn't come.
45:57And he was right.
45:58But how could I fail you on your night?
46:02Shall we take a picture?
46:03Yes.
46:15Antonia, it's Pietro.
46:17I'm coming.
46:24Hello.
46:25Hello.
46:31What a surprise. What happened?
46:34Giancarlo won't be able to attend the wedding.
46:37What? Why?
46:38What's his problem?
46:40The problem is with the authorities.
46:43They won't let him leave the country
46:46because of his criminal history.
46:48But he has four little things.
46:50Poor guy.
46:51But he has four little things. Poor guy.
46:53Yes, I know.
46:54But there's no other way, Antonia.
46:57In Italy, it's like this.
46:58If it's no, it's no.
47:01Pietro, I'm so sorry.
47:05I'm sorry.
47:06Is it important for you that your son was there?
47:09A lot.
47:10But I'd rather not think about it.
47:12He said we should try to enjoy it.
47:16Then listen to your son.
47:18We're going to enjoy it.
47:19I'm sure it's going to be a beautiful day.
47:21I'm sure it is.
47:23Although there's still a lot to do,
47:25it's going to be a fantastic day.
47:31I'm leaving.
47:35Antonia.
47:36Yes?
47:37I wanted to ask you something.
47:40I've decided to wear the same suit I wore when I married Lucia.
47:44May she rest in peace.
47:46I think a new one is too much money, right?
47:49If you don't mind.
47:50No, no, no.
47:52Quite the opposite.
47:55I didn't know how to tell you this.
47:58But I also thought about marrying the dress I wore when I married Ramón.
48:04If you don't mind, I'm making some adjustments, some arrangements, but...
48:08Of course I don't mind.
48:10It will be beautiful.
48:13Thank you.
48:14And Marta?
48:15She's gone to Madrid Cabaret with Laurita and Celia.
48:18You know how happy I was.
48:21And have you spoken to Esperanza?
48:24No, I haven't been able to.
48:25There was a lot of fuss at La Moderna, but...
48:29I'll talk to her tomorrow.
48:31Tomorrow?
48:32Yes, tomorrow.
48:33Are you sure?
48:34Yes.
48:37Okay.
48:40Good night.
48:41Good night.
48:48Good night.
48:54Laura writes very well.
48:57It's not true.
48:58I have an idea, but then it's hard for me to express it and put it on paper.
49:01No, no, but that's practice.
49:03The important thing is to have a good idea.
49:06And what you have said is a very good idea.
49:08I said it to relax.
49:10No.
49:11Heart.
49:12How do you say...
49:13Heart.
49:14I say it from the heart.
49:15See?
49:16Why is it so hard for you to be a fulfillment?
49:18Ladies.
49:20For good ideas.
49:22Cheers.
49:23Cheers.
49:27Miss Ramez.
49:28When Antonia sees the signature and the wedding dedication, how happy she will be.
49:33It will happen to her when she gets married.
49:46I love you.
50:02Matilde.
50:04Are you...
50:08Sorry.
50:10I'm very sorry.
50:17I'm sorry I let myself go.
50:19I shouldn't have doubted you.
50:21I'm sorry.
50:22I'm sorry you had to go through all that.
50:26Come here.
50:30It's not my fault.
50:31You have helped me, but...
50:34We have to be able to talk about anything.
50:36Honey, the problem has been that I have locked myself up.
50:39And I haven't shared your worries or mine.
50:42No, my love.
50:43I'm very sorry.
50:44You don't have to apologize for anything.
50:46If it weren't for you, I wouldn't be free.
50:48And I'm really sorry for everything you've been through.
50:52But...
50:54Honey, I would like us to look ahead.
50:57The two of us, as always.
51:00As always.
51:07You don't know how happy it makes me to have you here.
51:10I thought you weren't coming.
51:12I thought I was going to leave you alone on such an important day.
51:21Thank you.
51:28For our love.
51:31For what we are.
51:32For what we will be.
51:34And because life smiles at us.
51:43I love you.
52:02What were you going to do?
52:04I remind you that this is the manager's competition.
52:07I am the one who has to ask the worker for an increase in production.
52:11My God.
52:13The report made by the Iberian correspondent.
52:15Two whole pages covering the reopening of Madrid-Cabaret.
52:18And the rest of the newspapers didn't fall behind.
52:21All of them.
52:22They all echoed the event.
52:23I 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.
52:27What he's up to is for you to feel like a zero on the left so that he does give up his position.
52:31Can you tell me what you're doing here?
52:33That's what I could ask you.
52:35I live here.
52:36I don't understand how Don Fermín is letting you seduce for this lady.
52:41Let's pretend I didn't say anything, please.
52:43Well, you did say it, Trini.
52:45Hey, I'm really telling Cañete not to say anything to anyone.
52:47And go, and I'll tell you right away.
52:49Agustín, what a surprise.
52:52What do you mean, Agustín?
52:54Laurita, he's Agustín Comas, the theatrical producer who asked me to appear in the court of Pharaoh.
52:58I trust you.
52:59Don't disappoint me.
53:01I never disappoint you, daughter.
53:03I hope so.
53:04As you told me, business has to go well for me to be able to go on.
53:08As you told me, business has to go well for me to be able to go on.
53:11You must have seen how important the construction of hotels in Bilbao and Barcelona is to the accounts.
53:17Yes, yes.
53:18It would be an important push.
53:22But that is not feasible at the moment, because there is a law on the ground that prevents it, dear.
53:27I'm willing to wait for whatever it takes.
53:29But I don't want you to waste your time waiting for me.
53:32I should look for your new protagonist.
53:34You are my leading actress.
53:37I don't want to find anyone else.
53:39I think we should solve the godfather thing.
53:41The godmother, I think, right?
53:43You know what I think.
53:45And couldn't you reconsider it?
53:47No, Antonia, I'm sorry.
53:48I can't change my mind.
53:50I don't have much time.
53:52One thing is to take risks and another thing is to put my life on the line.
53:55I need you to tell me if you have made a decision.
53:58You know, leaving Spain like this, so hastily, well ...
54:07I'm sorry.
54:19It's just that with my salary I can't afford to move in with Antonia.
54:23Mrs. Lázara told me about an increase and ...
54:26And you want me to make cash, of course.
54:29Please.
54:30This door, I don't know why it doesn't open.
54:34I can't believe it.
54:36Well, I just closed the sliding door on the outside.
54:39I think it's time for you to go back to school.
54:41Don't you think?
54:43And Diego will give us the newspapers and ...
54:46Nobody is going to mess with you.
54:48What you want is to get rid of me.
54:50That's why you want me to go to school.
54:52Well, I think the best thing is for us to get comfortable,
54:55because it's going to be a very long night.
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