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00:00Subtitulado por Cristina Pérez Cerezo
00:30I saw myself in the need to complement the salary of the bookshop with an additional income.
00:36Selling scrapbooks in my bookshop.
00:38I will not sell scrapbooks again, I promise.
00:40Is there anything I could do to forgive him and to forget this unpleasant incident?
00:46I need him to domesticate my son.
00:48Don't tell me he hasn't realized he's a retarded vagabond.
00:51I would like to have a conversation with you. Is that possible?
00:54Yes, well, I don't know how it's going to be possible because I don't feel like it.
00:57At least you could tell me what your name is.
01:00You told the inspector yourself that those buttons are very common and that half of the men in Madrid have them.
01:06But it's not true. I lied.
01:08What do you mean you lied? My love, you're scaring me.
01:11I say, none of those buttons were the same as the ones on your jacket.
01:14I myself went to a nursery to buy some buttons so that they were identical to those on your jacket.
01:18You lied to the police to cover me.
01:21I have thought of wearing the same suit with which I married Lucia, may she rest in peace.
01:26It's just that a new one seems too much money to me, doesn't it?
01:29If you don't mind.
01:29No, no, no, no, no, no, no. Quite the opposite.
01:32I didn't know how to tell you this.
01:33But I also thought of getting married with the dress I married Ramón with.
01:38It will be beautiful.
01:40You know that Don Fermín has taken away the rule that married women cannot work in a modern way, right?
01:45Well, we have decided that Miguel and I are not going to tell him that we are married.
01:48We are going to pretend that we are in love, that we are falling in love.
01:52And well, we need your help.
01:56Oh, Cañete, what I just saw.
01:58What did Esperanza see? What did she see?
01:59Your friend, putting his hand on the glass, he will find out.
02:03The least I expected was that you doubted me.
02:05I told you that I have helped you.
02:07I have helped you, they could have accused me of conspiring or covering up a crime, or an accomplice.
02:14Do you really believe it?
02:15I know you're not.
02:17But there are things that don't fit me.
02:18Tell me if you think I'm a murderer.
02:20I didn't say that.
02:21Well, you haven't denied it at any time.
02:23I'm sorry to interrupt, but let me introduce you to Ernest Hemingway, the writer I told you about.
02:28Oh my God.
02:29Iris.
02:32My pleasure.
02:33Miss Garmet, it's an honor to have you here in El Madrid, Cabaret.
02:36But how was I going to fail you on your night?
02:38I plan to endure whatever it takes until I can execute my revenge.
02:42But are you really going to ruin your life just because you have ...
02:44Just to do justice?
02:45Matilde, you are ...
02:47Regretful, I'm very sorry.
02:49No, you don't have to apologize for anything.
02:51If it weren't for you, I wouldn't be free.
02:53And I'm really sorry for everything you've been through, but ...
02:58My love, I would like us to look ahead.
03:01The two of us, as always.
03:14Did you notice how I looked at you?
03:15Between the two of us.
03:18Well, yes.
03:19It was a lot of fun.
03:22It was a lot of fun.
03:27It has been one of those evenings that will have to be talked about.
03:29And no place will be able to overcome them.
03:32It's bad that I say it, but they're going to be on their way.
03:35Today's party in El Madrid, Cabaret, has been a party of height.
03:40And the best thing is that everyone was having a great time.
03:43I would put my hand on the fire, that many will continue to have fun until the sun comes out.
03:46And that you say it.
03:49You have to be very proud, love.
03:52The reopening of El Madrid-Cabaret has been an absolute success.
03:58But it would have been an absolute failure if you hadn't come.
04:02It's no use to me that the place is doing well if ...
04:05If you're not by my side.
04:12And you, mine.
04:14You know what the priest said.
04:16In the good and in the bad.
04:19So that's why you came. For a moral commitment.
04:22Of course.
04:25I don't like the environment or the place.
04:27Only the owner.
04:36Well, the truth is that I had a terrible time.
04:40Before you came.
04:41Yes, it's true, I was surrounded by people.
04:44But I felt alone because ...
04:46I couldn't stop thinking about the discussion we had.
04:50I also felt very guilty.
04:54Well, I didn't want to reopen the wound.
04:57Tonight has been a wonderful night and I want it to continue to be like this.
05:01Because all I care about is ...
05:03Having you in my arms.
05:10But ...
05:12My love, I want you to know that I would never hide anything from you.
05:16And I really don't know how that button from my jacket got to the riverbank.
05:21I have no answer for that.
05:26We'll find it.
05:28We'll solve it together.
05:32I know.
05:35But my love, until then, there are two things that ...
05:38I don't want you to doubt them.
05:42The first is that I didn't kill Carla.
05:46And the second is that I love you with all my soul.
05:50I've never doubted that.
06:03Mrs. Ortega.
06:16I love you.
06:46I love you.
07:16We are brave, if you don't understand it.
07:20In the modern world there is a better world.
07:24The modern one wrote our love poem.
07:40Well, lately the leaflets are selling very well.
07:42You don't know how successful they are.
07:44Yes, I've noticed.
07:45I'll talk to Pietro to make sure he's aware.
07:49Good morning.
07:51Good morning.
07:52It's nice to see you so concentrated working.
07:55In fact, in the accounts you can already see the change of attitude.
07:58You are partly responsible, Trinidad.
08:02Me?
08:03Yes.
08:04You and the rest of your colleagues.
08:06They are looking at each other a lot, as I told you.
08:09So congratulations on your part.
08:11Thank you very much.
08:12Well, I was just telling Mrs. Teresa that the leaflets and almonds are selling very well.
08:18Yes, I was about to go talk to Pietro to ask him to double the production.
08:23What were you going to do?
08:25I remind you that this is the manager's competence.
08:28I am the one who has to ask the worker for an increase in production.
08:32Well, Mrs. Teresa was just trying to do the best for the classroom.
08:36Yes, yes, I think it's very good.
08:38As long as it does not exceed its obligations,
08:41which are limited to supervising the good functioning of the classroom.
08:46I see.
08:47Well, but I think that being genderless is a bit something.
08:50Trinidad, don't worry.
08:52You are right.
08:54It won't happen again.
08:56I hope so.
08:58And speaking of obligations,
08:59I want to tell you that I have already contacted the surveillance company.
09:03And tonight they will send some extra guards.
09:07I'll let you know.
09:09Very good.
09:10Well, now, put the leaflets that we have to apply.
09:21Good morning.
09:22Teresa, please come in.
09:23Good morning, enjoy.
09:26Good morning, Matilde.
09:27Good morning.
09:28How are you?
09:30I didn't know photographers got up so early.
09:32Well, the news is great.
09:34And sometimes we have to go to bed very late and get up very early.
09:38But today...
09:39Today I come as a distributor.
09:49Oh my God!
09:51The report made by the Iberian correspondent.
09:53Two whole pages covering the reopening of Madrid-Cabaret.
09:56Well, and the rest of the newspapers didn't fall behind.
09:59All of them.
10:00They all echoed the event.
10:02Look what it says here.
10:05The American writer Hemingway and the actress Celia Gámez
10:08in the opening of Madrid-Cabaret.
10:10The presence of both was a success.
10:13But they don't just talk about the celebrities.
10:17Look.
10:19The owner of Madrid-Cabaret, Íñigo Peña-Albert,
10:22after being unjustly pointed out as guilty of murder
10:25and having suffered a shooting in his place,
10:27has been able to cover up the time.
10:30With a firm hand, he has once again taken over
10:33the most emblematic place of the Madrid night.
10:37You did it, my love.
10:39You have managed to clean up the image of Madrid-Cabaret
10:41as your own.
10:43Well, but not all the credit has been mine.
10:46These photographs, Celia, are incredible.
10:49They match the wonderful thing that was last night.
10:52Thank you very much.
10:54I'll leave you breakfast.
10:55Thank you very much for everything, Celia.
10:56Congratulations.
11:00Thank you.
11:05I'm very proud of you.
11:08Someone else in your place would have hidden their head
11:10and you have shown your face.
11:12And you have organized a dazzling reopening.
11:15You have taught them a lesson.
11:17Sometimes there is no choice but to endure and trust
11:19that the storm will stop.
11:22As long as he keeps quiet about what he thinks about the vampire,
11:24a hole will end up coming out of his stomach.
11:27Look, Trini, I know you shouldn't speak ill of your superiors,
11:30but with this woman,
11:31with this woman, I'm going to get an ulcer.
11:33And with me, you don't need to be content.
11:35If you already know that I feel the same price
11:37that you feel for her.
11:38Come on, none.
11:39Always trying to miss everything in Madrid.
11:42And it seems that he is going for me.
11:44That he wants to keep me away from all my obligations
11:46and my commitments.
11:47The truth is that I don't know what he intends.
11:49You don't know what he intends?
11:50Well, I'll tell you.
11:51What he intends is for you to feel like a zero on the left
11:54so that he does give up his position.
11:57Yes, well, he makes it clear.
11:59Now, whatever his intentions are,
12:01I can't do anything
12:02because now he's going to break a pin with Don Fermín.
12:04I don't understand how Don Fermín
12:06is letting you seduce for this lady.
12:12Let's see how I haven't said anything, please.
12:14Well, you have said it, Trini.
12:16Hey, I'm really telling you to shut up,
12:17don't say anything to anyone
12:18and go and tell him right away.
12:21Don't go too far, huh?
12:22No, no, no, no, no.
12:23I wouldn't be able to say anything under torture.
12:27And besides, all this is my interpretation.
12:30I have no proof.
12:31Well, I'll tell you one thing, huh?
12:32Open your eyes wide
12:33because this woman is not going to stop.
12:57Huh?
13:02Yes, yes, I deserve this reception,
13:04one or worse,
13:05because I've gone all the way to Corbejón.
13:07I'm sorry, Miguel.
13:08Really, but hey,
13:09don't tell me Elías Tejadas is a coward,
13:11because I've come here to confess my fault.
13:14That a waiter asked Don Salvador
13:16to take notes of one of the orders from La Fajete.
13:18Well, and what took you so long to come with the story
13:20and with all the luxury of details?
13:21We'll see.
13:22Man, Elías,
13:23considering that we were using
13:25the warehouse of his store for our business ...
13:27Well, but the truth is that I am very happy to see you here,
13:30because that means that he has not fired you.
13:32Luckily, I have managed to save my skin and my job,
13:35at least for the moment.
13:38It's just that my job is on the loose
13:40because of a tramp like this.
13:42But of course, if he doesn't even come to work,
13:44how do you want him to deserve it?
13:46What do you mean, Raquel?
13:48Here it is.
13:49Good morning, Miguel.
13:52What a piece of shit.
13:54There is no day that his time passes.
13:56It's already bad luck.
13:57Leave it, I don't care.
13:59Go to the warehouse, take out boxes
14:00and start ordering books in the bookshops,
14:02because we are already late.
14:03I thought the job of a bookseller
14:05consisted of selling books.
14:06Man, he's got a point.
14:08Kid.
14:10Very good, Mrs. Julia.
14:12I'll be right with you.
14:13Don't worry, Miguel.
14:14I'm just curious around here.
14:16Let's see, Salvita.
14:18Let's see, Salvita.
14:21I say that to sell books,
14:23at least we have to keep an eye on them, right?
14:25And it wouldn't be bad if you knew
14:27what books we have, which ones we can order,
14:29what titles are romantic comedy,
14:31which ones are history...
14:32Well, that's going to be much more complicated
14:34because I understand a lot about selling,
14:36but books...
14:37That's my father's thing.
14:39Well, we're screwed.
14:41Don't worry, man.
14:43I tell him to sell for a while.
14:45Look and learn, Miguel.
14:49Good morning, Mrs. Julia, right?
14:52Indeed, Julia is my name.
14:54Mrs. Julia, what are you looking for?
14:56Only then can I help you.
14:58Well, look, in a few days
15:00it's my nephews' birthday
15:02and I don't know what to give them.
15:03I've been through the gallery
15:04and I thought that a children's book
15:06would be a good option.
15:07I agree with you.
15:08You've come to the right place.
15:10Here we have the best stories
15:12you can imagine.
15:14Oh, a greeting
15:17that's charming
15:19at the same time as polite,
15:21close,
15:22but without losing shape.
15:24I am a great observer
15:26of human behavior
15:27and the relationship with clients.
15:29I know how to appreciate
15:30a good reception
15:31when I have it in front of me.
15:33If that's enough,
15:34it's going to sink
15:35as soon as the client
15:36asks for a recommendation.
15:37I'm content
15:38that you don't take it
15:39to the shelves of the encyclopedias.
15:42My nephews are twins.
15:44Oh, well, then
15:46instead of recommending you a book,
15:48I'm going to recommend you two
15:49so that you don't get into a fight.
15:51You don't know how jealous I am
15:53to have such a painterly aunt like you
15:55and on top of that,
15:56to give you books.
15:57Who would have that luck?
15:59What are you saying?
16:01What an attitude this kid has.
16:03Attitude and salesmanship.
16:05How can you neglect
16:06two or three books?
16:07You can't panic, Miguel,
16:08because if it doesn't work,
16:09you have to bet.
16:11Well, goodbye.
16:14Okay, okay.
16:16And,
16:17are you new here?
16:19Yes, I'm new,
16:20but I think I have a future as a bookseller.
16:22Yes, yes,
16:23I'm telling you, yes.
16:24Yes, Naomi,
16:25these three are going to be options.
16:26Perfect.
16:45I want us to start from scratch.
16:47I want us to fulfill the dream we always had,
16:49to have a jazz club in New York,
16:51or in California,
16:52or wherever, I don't care.
16:54I would do anything to make you
16:55the happiest woman in the world.
17:00I don't need any of that, Cesar.
17:03I only need you.
17:05But it's just that...
17:07I know it's very complicated,
17:09but I want us to start from scratch.
17:12I know it's very complicated.
17:14You have a comfortable life in Madrid,
17:16and you can't be away from your uncle and your sister.
17:18I'm sorry I can't give you more days.
17:21I only have two.
17:23That lieutenant is looking for me.
17:36Good morning.
17:38Good morning.
17:41Do you know what time I got home last night?
17:44Well, I think it was dawn already.
17:48But then, did you have a good time?
17:50Better than good.
17:52Celia Gamed and Ernesto had us
17:54all night long.
17:55We even went to a flamenco table
17:57because Ernesto insisted.
17:59What confidence.
18:01They'll call Mr. Hemingway by his name.
18:04I hope it's not Celia
18:06who's coming to pull my ears out
18:07to the studio.
18:11Wait.
18:14What are you doing here?
18:16I could ask you that.
18:18I live here.
18:20But you live here.
18:22I thought this was Inés Balbuena's house.
18:25Come in.
18:26What do you have to do with my sister?
18:31Your sister?
18:33I didn't know Inés had a sister,
18:36unless...
18:38it was you.
18:40I see.
18:41Another dog with that bone.
18:43You were laughing at me
18:45about the cinematographer
18:46and you came to keep showing off.
18:48Ma'am, I'm being completely honest.
18:50I came to look for Inés
18:51and I ran into you.
18:52There are no bad intentions on my part.
18:54I see.
18:55Well, that's...
18:57Agustín, what a surprise.
19:00What do you mean, Agustín?
19:02Do you know the owner
19:04of Cine Garrelú?
19:06No, I didn't know it was his.
19:08Laurita is Agustín Comas,
19:10the theatre producer
19:11who asked me to appear
19:12in La Corte de Faraón.
19:14Wow.
19:15We're a box of surprises.
19:17You're a fan of the cinematographer,
19:19niece of my good friend Don Fermín
19:21and sister of my leading actress.
19:24Well,
19:25your former leading actress.
19:28Look,
19:29that's a lot of information
19:30in a very short time
19:31and I don't...
19:33I don't have my head.
19:34We'll talk another time.
19:38Don't take it to heart.
19:39He doesn't have a very good awakening.
19:47May I come in, Don Fermín?
19:49Of course.
19:51I was just reading
19:53the success of the reopening
19:55of the Madrid-Cabaret.
19:57Yes.
19:59Well,
20:00but you and I
20:01have another conversation pending, right?
20:03To be precise,
20:04you're the one who owes me an answer.
20:06That's true,
20:07I owe you an answer
20:08and I'm going to give it to you.
20:09Sit down.
20:11Matilde,
20:12your project seems
20:14a great idea to me,
20:16but
20:17I still have some reservations.
20:20Tell me,
20:21what exactly worries you?
20:22I don't doubt your ability
20:24to organize
20:25all those events
20:26that you propose in the hall,
20:28but I can't ignore
20:30that you are
20:31a young woman
20:33with little experience
20:34in these things.
20:36You're worried that I don't know
20:37how to deal with businessmen
20:38and businessmen.
20:40As always,
20:41you pick them up on the fly,
20:43Matilde.
20:44Honestly, Don Fermín,
20:46I also have a lot of vertigo,
20:48but at the same time
20:49I see myself able to deal
20:50with those men
20:51and I think that my work
20:52will consist of offering them
20:53a place
20:54where they can meet,
20:56get to know each other,
20:57get in touch
20:58and exchange ideas.
20:59They will be the ones
21:00who separate each other.
21:02Yeah, yeah, but
21:04a woman alone
21:06among so many men...
21:09You know better than anyone
21:10that contributing to change
21:11the established order
21:12has always motivated me
21:13to give my best.
21:15You don't have to swear it.
21:16I have suffered in my own skin
21:17your desires
21:18to see the world change.
21:21Look, Don Fermín,
21:24I can't promise you
21:25that this will go well
21:26in the first round
21:27or that there won't be problems,
21:29but I can tell you
21:30that I'm going to work very hard
21:31to get the best out of it.
21:34And I'm aware
21:35that I have a lot to learn,
21:37but I'm willing to do it.
21:39I can't tell you anything else.
21:58Daughter, what are you doing there
21:59without doing anything?
22:01With all the documentation
22:02that I gave you in the company,
22:03you have work for hours.
22:05I have already reviewed everything
22:06and I have nothing to object to.
22:08Besides, you were the one
22:09who told me
22:10that I would talk to Fabio.
22:12That's right.
22:13I have talked to him
22:14and he has not put me in any trouble
22:15to raise the rents in Seville.
22:18I knew you would get it.
22:20And tell me,
22:21how is the issue of the hotels
22:22in Bilbao and Barcelona going?
22:24Well, with respect to that
22:26issue,
22:27everything is going to be slower
22:28than any issue for the blind.
22:32I have no doubt
22:33that you will get it.
22:35Do you have Fabio eating out of your hand?
22:38Yes.
22:40But his honesty
22:41is going to be a difficult choice
22:42to save.
22:44Honestly, I don't see him
22:45using his influences
22:47to make a law benefit him.
22:49He has to do it.
22:50I trust you,
22:51don't disappoint me.
22:54I never disappoint you, daughter.
22:56I hope so.
22:57As you told me,
22:58business has to go well
22:59for me to be able
23:00to finish my revenge.
23:02I need you to have
23:03a clear mind
23:05so that our plans
23:06go right.
23:09I have been thinking about everything
23:12and I have come to a conclusion.
23:17Which one?
23:19That I don't need anyone,
23:21not even Ñigo.
23:23I am enough
23:25and I have enough
23:26to get what I want.
23:28You don't know how happy I am
23:30to hear you say that, daughter.
23:33Forgetting that bastard
23:34is a big step.
23:36I have said that I don't need him,
23:38not that I am going to forget him,
23:40and much less to forgive.
23:51I feel that this is the beginning
23:53of a beautiful and fruitful alliance.
23:55I hope so.
23:56Life makes me smile, Mr. Fermin,
23:58and I am going to make an effort
23:59so that it continues to be so.
24:01Very well.
24:06I'm sorry,
24:07I didn't know you were here.
24:08You are excused,
24:09Mrs. Lazara.
24:10Stay, please.
24:12Since you are here,
24:13I inform you that from now on,
24:14Matilde will be in charge
24:16of organizing business events
24:18in the upper room.
24:20Well,
24:21I think it's a great initiative.
24:24And I am very pleased
24:25to have Matilde under my command.
24:27Such a smart and responsible girl.
24:29Her fame precedes her.
24:30I thank you.
24:31But she won't have to worry
24:33about having more employees in her position.
24:35Mr. Fermin and I have agreed
24:36that I will not be part of the team.
24:38Ah, yes.
24:39Yes, yes, that's right.
24:40Matilde will not be part
24:41of the organigram of La Moderna.
24:43She will simply be a foreign collaborator
24:45who will only have to respond to me.
24:47I think it's best for everyone.
24:50That's good.
24:51Well, Mr. Fermin, thank you very much.
24:54I'm glad to see you,
24:55Mrs. Lazara.
24:57I say the same.
25:04And that's what the doctors say.
25:06But they don't assure me
25:07that I can sing again.
25:09You know, sometimes
25:11the doctors' perceptions
25:13don't coincide with the patients'.
25:16Agustín, it's just that
25:17I'm not in a condition to sing
25:19and I don't know if I'll be able to do it again.
25:21My extensive experience
25:23has shown me that
25:24regaining your voice
25:25is very difficult,
25:27but not impossible.
25:29You just need time.
25:32Agustín, I...
25:33Don't shut yourself in, Inés, please.
25:36I want to move forward
25:37with the pharaoh's court.
25:39I've been doing tests,
25:40I've seen like a hundred girls,
25:42some more or less good,
25:45but none of them have what you do.
25:47Don't be silly, Agustín.
25:49There are millions of wonderful girls
25:51out there waiting for your opportunity.
25:53But I want one that embellishes me with her voice
25:55just like you did.
25:58And that's impossible.
26:02I'm willing to wait for whatever it takes.
26:04But I don't want you to waste your time waiting for me.
26:07You should look for your new protagonist.
26:09You are my protagonist.
26:12I don't want to find anyone else.
26:14But you don't have to answer me now.
26:17Look, I've brought you
26:19a copy of the notebook
26:21so you can take a look at it.
26:24Okay?
26:28Okay.
26:32Don't get upset, okay?
26:34Sorry, I'm not here anymore.
26:35I'm gone.
26:37Inés,
26:39take the time you need.
26:41I'm willing to wait for you.
26:44Okay?
26:52Inés,
26:54why did she say she's willing to wait for you?
26:56What does she want?
26:57Because I don't accept her as your protagonist.
26:59No, that's not the point.
27:01Laurita, she just wants to wait
27:03for me to get my voice back
27:04to set up the court of the pharaoh.
27:06Well, let her wait sitting down.
27:08Because you can't make this effort now,
27:10much less because of a scoundrel like him.
27:12No,
27:13but maybe he's flirting with you.
27:16Inés, don't joke because it's not funny.
27:20Look,
27:21I'm glad
27:22he wants to count on you
27:24to be his leading actress at any price.
27:29Aren't you glad?
27:31Yes, yes, I'm glad,
27:32but I need to think about it
27:34and maybe some fresh air will help me clarify.
27:36Of course, that's great.
27:37No, no, no, no, no.
27:38No, Laurita, I'd rather go alone
27:40if you don't mind.
27:42See you later.
27:43Bye.
27:54I'm getting used to the company's affairs.
27:57It's not easy, but
27:59let's say I'm making good progress.
28:03And don't you miss
28:04those political entanglements you liked so much?
28:07Sometimes, yes.
28:08No, but
28:10I think I've made the right decision.
28:12And given my experience with political parties,
28:15I don't see much room for me.
28:18Besides,
28:19I can't imagine having to deal
28:21with your daughter's company
28:22while I face other challenges.
28:25I'm very grateful for the commitment
28:27you're showing to the company,
28:29but I feel responsible
28:31for disrupting your political career.
28:33Wouldn't there be any way
28:35to combine the two things?
28:37I've already told you, dear.
28:39Neither one nor the other
28:40allows you to go half-baked,
28:42and I don't want to go half-baked.
28:46I'm afraid you'll need your friends
28:48to give the business a boost.
28:53I don't know what you mean.
28:55And I'm not sure I want to know.
28:57Well, you told me you're getting an idea
28:59of the company's situation.
29:02Then you must have seen
29:04that building hotels in Bilbao and Barcelona
29:07are getting more and more expensive.
29:09Yes, yes.
29:10It would be a big boost.
29:13But it's not feasible at the moment
29:15because there's a law on the ground
29:17that prevents it, dear.
29:19I see, I see, darling.
29:21And that law couldn't be changed?
29:23I suppose so,
29:24but it's very difficult.
29:27Well, that depends on the key you touch.
29:30And you, with your contacts.
29:32Barbara, my ability to influence
29:34doesn't reach those levels.
29:36You can't change things overnight.
29:39That requires a long process,
29:42and a lot of consensus, and a lot of parties.
29:47Building those hotels
29:49was my daughter's last wish.
29:51I'd like to make her dream come true.
29:54And I don't want to have to go against the law
29:56to do it.
29:57Then don't do it.
29:59I'm just looking for a way
30:01to make Carla's last dream come true.
30:05But don't worry.
30:07I won't force you to do something you don't want to do.
30:10Yes, everything is perfectly within everyone's limits.
30:18She gives us an idea of the celebrities there.
30:21And me, among all of them.
30:23My goodness, how brave she is.
30:25She must be very impressed
30:27to be in front of singers, actors...
30:29It's me, and I leave without Celia Gámez's autograph.
30:32Don't think I'm so brave, Antonia.
30:34I did it because Laurita pushed me.
30:36I almost threw soda on her.
30:39Good thing you didn't.
30:41I would have died of shame.
30:44Actually, I was in a hurry
30:46because Laurita went to talk to that American writer
30:49and left me there.
30:51Well, it's good that it ends well.
30:53But I also tell you that it could have ended a little earlier,
30:56that you almost arrive when the rooster crows.
30:58She likes to exaggerate.
31:00I'm not a child anymore, Antonia.
31:02Yes, I know, I know, darling.
31:04But there is no age to arrive at a prudent time.
31:07Okay?
31:08Okay.
31:10Hey, aren't you going back to the salon today?
31:13I hope so.
31:14I have the last shift and it closes.
31:16But I trusted to take advantage of this moment
31:19so that Pietra would tell me
31:21how Mr. Braulio's children are doing.
31:24I hope the news is that we can go to the Garcés' house
31:27when you get married.
31:29I hope so.
31:30I hope so.
31:34I'll open, Antonia.
31:41Pietra, come in.
31:42Hi, Marta.
31:44Hello, Antonia.
31:46Oh, what a bad face you have.
31:49You're in a bad mood.
31:50They have closed the deal.
31:52They don't want to negotiate.
31:54They demand three months in advance,
31:56one as a fiancée,
31:58and the raise in the rent.
32:00But...
32:01But how is that going to happen?
32:03Those are abusive conditions.
32:05Who can face that?
32:07Well, maybe you can look for something smaller and more affordable.
32:11I already told you that I can find...
32:12No, we already told you that that wasn't going to happen.
32:14Marta, the three of us are going to live here together.
32:16And even if we are, we'll squeeze in.
32:19But...
32:20But neither but nor but.
32:21Come on, take this to the room.
32:23Okay.
32:24Well, okay.
32:33Pietro, it's best if we don't talk about these things in front of the girl,
32:35because then she'll think about it and she'll give us a headache.
32:38And...
32:39And speaking of headaches, Pietro,
32:41I think we should talk about the godparents.
32:44And the godmother, I think, right?
32:46You know what I think.
32:48And couldn't you reconsider it?
32:50She's very excited to take you to the altar and I don't...
32:53I don't think I'm capable of saying no.
32:55No, Antonia, I'm sorry.
32:57I can't change my mind.
32:59And if you want, I can talk to Esperanza.
33:01No, no, no, no.
33:02No, I know you and in the end you'll end up in trouble.
33:07Okay, I'll talk to her later.
33:09Think about it.
33:10Soon, please.
33:11The more excitement there is, the worse.
33:14Okay?
33:15Okay.
33:20Okay.
33:26Cesar, thank God you showed up.
33:28I thought something had happened to you.
33:30I'm sorry about the mess,
33:31but there was police at the place where I'm sleeping
33:33and I had to wait for them to leave.
33:34But what if they're following you?
33:36What if there's a patrol around here?
33:37Well, they'd stop us.
33:38But don't worry, that's not going to happen.
33:40I've taken precautions.
33:41I don't know, Cesar.
33:42I think you shouldn't take any risks.
33:44Because of you, I'm willing to take all the risks in the world.
33:49Listen to me.
33:51I don't have much time.
33:53One thing is to take risks
33:54and another is to put a bullet in my back.
33:56I need you to tell me if you've made a decision.
33:59Cesar, leaving Spain like this, so hastily, well...
34:04Look,
34:06I've had some horrible days
34:08thinking you were dead and that I'd never see you again.
34:14But now life has given me the opportunity
34:17to be with you again.
34:20And I'm not going to waste it.
34:27What does that mean?
34:28That I'm coming with you.
34:30That I'm coming with you to America,
34:32to China or wherever.
34:40Listen, you're not going to regret it.
34:44But, Cesar,
34:46I want you to leave behind the life you had in Marseille.
34:49Your past stays here.
34:50Please.
34:53Do you promise me?
34:55I'm going to do everything in my power to make you the happiest woman in the world.
34:59I promise you.
35:01I want to start from scratch with the woman I love the most.
35:15I want to start from scratch with the woman I love the most.
35:23I'm going to have a coffee.
35:25Since when do the waitresses serve drinks?
35:28Since the health of the husbands can go to the gallows.
35:30Besides, look how your hand is shaking,
35:32to have another coffee now.
35:34What do you want?
35:35I remind you that my job is on the wire
35:38because of the tarampana of Salvita.
35:40If I don't manage to straighten it, I'll end up on the street.
35:42Well, that's why I brought you a blanket,
35:44so you can calm down,
35:46to clear your mind,
35:47to see if you can think of a plan to get this boy on the street.
35:51If that will help him,
35:52because you know how successful our plans are.
35:54None.
35:55Yes, you're absolutely right.
35:56None of them work.
35:57Starting with Salvita
35:59and ending with our plan to fall in love.
36:02So Esperanza hasn't noticed, has she?
36:05She hasn't noticed anything.
36:06She always hacks.
36:08She finds out all the gossip,
36:09knows everything,
36:10and when you serve her the silverware,
36:12she doesn't even see it.
36:13Maybe that's the mistake.
36:15Because Esperanza is unique,
36:17detecting gossip.
36:19But our thing,
36:20after so long of marriage,
36:21even if she doesn't know it,
36:22has lost the essence of gossip.
36:24It's not a pure gossip.
36:25You have to get rid of the gossip.
36:27But what are you saying, man?
36:28Hello.
36:30Sorry if I interrupt something,
36:31but I have something important to tell you.
36:35She just used me as bait for your entanglements.
36:38But with everything we've done for you,
36:40damn it.
36:41I know, Trini, I know.
36:43And it hurts my soul.
36:44But I can't do everything.
36:46The vampire has put me to measure the time
36:48each waiter spends attending the tables.
36:50And she wants a detailed report.
36:51And what for?
36:53I guess to annoy me.
36:55But in addition to watching the waiters,
36:56I have to be aware of suffocating Teresa's angry men.
37:00And I can't do it.
37:01My friends, I can't do it.
37:02Well, when bad things come,
37:04they all come at once.
37:05But there's something we have to do
37:06to straighten this mess, I say.
37:08Well, you'll tell me how.
37:10We have to be more aggressive.
37:11Much more aggressive with our strategy
37:13so that Esperanza catches us.
37:15Of course, if we do it right,
37:17no one will doubt that you and I
37:18are crazy about each other.
37:25Your wife is starting to scare me, Miguel.
37:28And me, Cañete.
37:29And me.
37:36And me.
37:48So, you're going to invite me to a coffee?
37:50Just like that?
37:51Oh, honey, I don't know what you're surprised about.
37:53I like having details with my partners.
37:56If you say so.
37:58Well, and so I also take the opportunity to read you
38:02what I wrote for Antonia's wedding.
38:04I knew that so much kindness
38:06couldn't be for nothing.
38:08And why do you have to say a few words
38:10at Antonia's wedding?
38:11Because I'm the godmother, Leñe.
38:13Oh, my God.
38:15I'm going to start with Erfina,
38:16who is the most sensible.
38:18You're the godmother, you're in charge.
38:21And even if you don't have to eat perdiz,
38:24I know you're going to be very happy.
38:27Especially you, Pietro,
38:29who wears a jewel of a woman
38:32and of a person like Antonia.
38:36I love her like the sister I've never had.
38:41So, no, so, so,
38:43for the account you bring her,
38:46it's better that you respect her
38:48as you make her suffer.
38:50Even if it's one of mine,
38:52I take the roller
38:54that you have in the work
38:56and I bite it.
38:59What's wrong with you?
39:04Antonia.
39:06I didn't know you were coming.
39:08What a surprise.
39:09If I hadn't prepared you a coffee too.
39:11Surprise?
39:12Are you still surprised
39:13that I fulfilled my duty?
39:15Well, woman,
39:16you know how Esperanza is,
39:18you don't have to listen to her.
39:19Well, without fail.
39:20Besides, I gave her a slap.
39:22Well, don't fight,
39:24because I know perfectly well
39:26what you were reading.
39:29What a godmother I am.
39:30I can't keep a surprise.
39:33Oh, my God.
39:34Well, on the day of the wedding,
39:35you pretend you didn't hear the speech.
39:39That's exactly what I wanted to talk to you about.
39:45Well, I'm going,
39:46I'm going to have this coffee,
39:48me, quietly,
39:49in the living room.
39:59Laura.
40:00But I thought you were working.
40:02Inés,
40:03have you lost your mind?
40:05When were you going to tell me
40:06that César is alive and that you are still seeing each other?
40:08Are you dedicated to following me now or what?
40:10Yes,
40:11and luckily I have.
40:12Inés,
40:13do you realize
40:14that you can end up in jail
40:15as an accomplice to a criminal?
40:18I'm sure it's Lieutenant Ludo.
40:29Inés.
40:30It's him.
40:31He saw you with César
40:32and that's it,
40:33it's all over.
40:34But it can't be,
40:35it can't be.
40:36He was very careful.
40:37Yes, yes,
40:38he was very careful.
40:39So much so that your sister,
40:40who is not a professional,
40:41could follow you
40:42and you didn't realize it.
40:43No, no, no,
40:44wait, wait,
40:45give me a minute,
40:46a minute.
40:58Good afternoon, Lieutenant.
40:59Good afternoon, Miss.
41:01I hope I haven't arrived at a bad time.
41:03Have you taken your time to open?
41:05No, no, come in.
41:15Any problems?
41:17No, no, Lieutenant Lorenzo, none.
41:19He caught us in the middle of a game
41:21and he doesn't know how competitive we are.
41:23Then I won't go around.
41:25You still don't know anything about César?
41:27Nothing, nothing,
41:28and I hope he continues to be like this
41:30for a long time.
41:31What I hope is that he is not lying to me.
41:34His friend is very dangerous
41:35and could put his life at risk.
41:38Lieutenant, César is not a criminal.
41:41He has made mistakes, yes,
41:42but he wanted to correct them,
41:44although he did not have the opportunity to do so.
41:47Opportunities, ladies,
41:49are won by effort,
41:51not by shooting a person.
41:55You can't start from scratch
41:56with a corpse behind you.
41:59The dead end up dying.
42:03Anything else to add?
42:05No, nothing else.
42:08So I don't steal your time anymore,
42:11although I hope you give me some advice.
42:14Your friend is a criminal
42:16and as such he will commit a crime again
42:19sooner rather than later.
42:21So if he appears again in your lives,
42:26it is better that you leave as soon as possible.
42:45Inés, head,
42:47you know how lucky you are to be healthy and safe,
42:49that César's entanglements almost cost you your life.
42:51But what do you mean by seeing him again?
42:53Laurita, really,
42:54you have to trust me.
42:56I'll be fine.
42:58All this is about to end, I promise you.
43:05Don't tell me anymore.
43:06I can see it in your face.
43:08You don't like the speech.
43:09Of course, I have put in something funny,
43:11but come on, if you want I can change it
43:13and take away the knee thing.
43:15No, no, yes, it's perfect.
43:16It's a beautiful speech.
43:18Beautiful, beautiful.
43:24I don't know how to tell you the truth.
43:28Well, bravely and sincerely,
43:30as you and I have always spoken.
43:33Very well.
43:37Well, the first thing I want to tell you is that
43:40you are also a sister to me.
43:45You and I have been through a lot
43:48and...
43:50Good woman, let it go,
43:52it won't be so bad.
43:57I'm sorry to tell you, Esperanza,
43:59that you can't be the godmother of the wedding.
44:09And why is that?
44:11Because Pietro and I have decided that
44:16you are one of the witnesses.
44:21Witness?
44:22Yes.
44:25Nana is from China.
44:28I don't go where I'm not loved.
44:33And tell the Italian
44:35that he can save my blanket.
44:45I love you.
44:47I love you too.
45:17Next time, please, don't wait until the end of the day.
45:19There is a lot to do.
45:20Come on, on purpose, from your house.
45:22I could wait until tomorrow, Mr. Fermin.
45:23Well, if you can't wait until tomorrow, you'll have to...
45:27Mrs. Lázara?
45:28Yes.
45:29I thought... I thought you had already left.
45:31No, I was just checking that everything was in order.
45:34Then every day before I leave.
45:36It's a good habit, but please, as soon as it's over,
45:39go home, it's not time anymore.
45:42Of course, Mr. Fermin.
45:43Good night.
45:44Good night.
45:48Let's see, Pietro.
45:49What is so important that you can't wait until tomorrow?
45:53The money, Mr. Fermin.
45:56Always the money.
45:57Don't tell me you're in a hurry.
45:59No, but...
46:01It's just that with my salary, I can't move in with Antonia.
46:04Well, well.
46:06Mrs. Lázara told me about an increase and...
46:08And you want cash, of course.
46:11Please.
46:13You know very well that if the accounts don't come out, they don't come out.
46:16If they don't come out, they don't come out, right?
46:18Give me some time to think about it, I'll check the finances,
46:20but make sure it's possible.
46:24I'm very happy that you've stayed with us,
46:26so I plan to help you in everything I can in this new stage of yours,
46:30alongside Antonia.
46:31Thank you, Mr. Fermin.
46:33That's what I want and...
46:35Life goes by so fast that sometimes we forget
46:38what is truly important, right?
46:42And according to you, what is truly important?
46:45Affection, Mr. Fermin.
46:46Affection.
46:47Affection, yes.
46:48Yes.
46:50Excuse me, I think I left my purse inside.
46:53Does it matter if...
46:55Are you going to look for it?
46:57Yes, yes, yes, of course.
46:59Excuse me.
47:01I'm leaving, Mr. Fermin.
47:03Thank you very much for everything.
47:04Okay.
47:06Let me help you, Mrs. Lázara.
47:08Four eyes are better than one.
47:10Thank you very much.
47:11Let's see...
47:15Well, here it is.
47:16Yes?
47:17Yes.
47:18I have it in my head.
47:20It's all here.
47:21Well, I guess the day has passed me by and I'm tired.
47:24I'm going home now.
47:26It's time.
47:27Yes, yes, of course it's time.
47:28Of course.
47:29Excuse me, Mrs. Lázara.
47:30Thank you.
47:34This door, I don't know why it doesn't open.
47:38I can't believe it.
47:40Well, I just closed the sliding door from the outside.
47:44It can't be.
47:45Yes.
47:47No, but...
47:58Maybe Pietro hasn't left yet.
48:01Pietro, are you still there?
48:03Pietro, are you still there?
48:09For the success of Madrid Cabaret.
48:11And for the success of La Moderna,
48:13which is still a prosperous business,
48:15since my wife goes back to work there.
48:18I'm afraid then the toast is incomplete.
48:21Because you didn't include yourself.
48:23And if I go back to work with Don Fermín,
48:24it's because you encouraged me to talk to him.
48:26No, no, not at all, my love.
48:28The credit is all yours.
48:30The idea is very good
48:31and Don Fermín would have realized it sooner or later.
48:34Thank goodness it was soon,
48:36because I don't like to be hand in hand.
48:39Let's see how it goes.
48:41Any doubts about your project?
48:43No.
48:44It's not that, it's just that...
48:47Well, it gives me respect to enter a world
48:49dominated entirely by men.
48:53Do you think it will give me respect?
48:58If there is someone
48:59who can make those businessmen sign,
49:02it's you.
49:06Oh, well.
49:07Thank you for always supporting me
49:09and trusting me when I have doubts.
49:13Of course, my love.
49:15What kind of husband would you be
49:16if you weren't by my wife's side?
49:21Give me a kiss. Come on.
49:24I had a nightmare.
49:28Come here, my love.
49:30Come here.
49:32It's okay.
49:33That's it.
49:36Come here.
49:37Sit here.
49:40Sweetie, dreams are just dreams.
49:43You don't have to give them importance
49:44because they're not real.
49:47I see.
49:48But now I can't sleep.
49:50I'm scared.
49:51Oh, my little one.
49:53Tell us what you were dreaming about.
49:56I don't remember.
49:58But I was very scared.
50:01It happens to me too.
50:03I don't remember what I dreamed of,
50:04whether it was good or bad.
50:05But maybe we could take this opportunity
50:07since Clarita is awake
50:08and talk about some things that worry us.
50:13I'm not worried about anything.
50:16Well, I am.
50:18Your studies.
50:20I think it's time for you to go back to school.
50:22Don't you think?
50:24Inigo will no longer be in the papers
50:26and no one will mess with you.
50:29What you want is to get rid of me.
50:31That's why you want me to go to school.
50:33To get rid of me.
50:34Hey.
50:35Clarita, what I want is the best for you.
50:38And the best thing is that you study.
50:40Don't forget what Mother and Father said.
50:43I'm not going to school.
50:45I'm going to stay at home.
50:46Hey, Clarita, we haven't finished...
50:53Well, we have finished.
50:57I don't know what's wrong with her.
50:59I don't know what to do.
51:00But don't worry, my love.
51:02We'll give her time.
51:03Let's not waste it.
51:05Okay.
51:06I'll give her time.
51:08But tomorrow I'm going to school,
51:09no matter what.
51:15Nothing.
51:16Nothing, there's no way.
51:18Are you sure?
51:19Very sure.
51:20I would have to dismantle the frame or the lock,
51:22but I don't have the tools here.
51:24I don't...
51:26I don't have the tools.
51:27I would have to dismantle the frame or the lock,
51:28but I don't have the tools here.
51:31Well, since we can't open it,
51:33I see that we stay here all night.
51:36Well...
51:38Well, I'm afraid that...
51:40that we have no choice.
51:42If someone was worried about my delay,
51:44I could come and see what happens
51:46and get us out of here, but...
51:48No, that's not the case.
51:50Well, I'm the same.
51:52Sigh...
51:56Well, let's not think about the worst, Mr. Fermin.
51:59At least neither of us have a family
52:01that is mourning our absence, right?
52:04Yes.
52:06It would be better to think so, of course.
52:10Well...
52:13Because you don't have more family than your nieces, right?
52:16No.
52:18No, no.
52:19I'm not a widower, if that's what you're asking.
52:22I'm sorry, I didn't mean to be indiscreet.
52:24No.
52:25It's just that it strikes me
52:26that someone like you didn't go through the altar.
52:29Well, maybe I've found the woman who can stand me.
52:33Please, Mr. Fermin.
52:34What things do you have.
52:36Even here, locked up,
52:38you manage to find time for your soul.
52:44The truth, Mrs. Lázara, is that...
52:47it seems to me that love is as hazardous as the game
52:50and I haven't been given good cards.
52:52Well, maybe what happens is that you are very demanding.
52:55No, no, I don't think that's it.
52:57No.
52:59I think rather that...
53:01I'm a loner.
53:04There are those who say
53:06that falling in love is...
53:08getting tired of being alone.
53:11And you haven't gotten tired yet?
53:17I'm very committed to my...
53:19to my lonely life.
53:20I'm a man of customs.
53:22Well, but everyone can change, including you.
53:27You know what I think?
53:32That you're afraid of being touched in the heart.
53:34Am I wrong?
53:38I'm sorry.
53:39I shouldn't have said that.
53:40No, no, no.
53:42Don't worry, nothing's going to happen.
53:45Don't worry.
53:47Don't worry.
53:52Even so, we agreed that...
53:55we were going to...
53:56keep the forms.
53:58And that our...
53:59work relationship was going to be...
54:01aseptic.
54:02And yet...
54:04here we are talking about intimacy
54:06after I told you...
54:07what my feelings were.
54:09Excuse me.
54:10Well, here we are out of our work schedule.
54:14Besides...
54:18we have a...
54:20a conversation pending, right?
54:22No, no, no, no.
54:23No, I already said everything I had to say.
54:26Even more.
54:28Unless you have something to tell me.
54:35I...
54:36I can only tell you that I have it in high esteem
54:39as a professional, as a person.
54:45And...
54:47as a woman.
54:54I thank you very much for your words, Mr. Fermin.
54:58And I also thank you for...
55:00having the courage to share your feelings with me.
55:06And well...
55:08I think the best thing is that we get comfortable
55:10because it's going to be a very long night.
55:18THE NEXT DAY
55:21The correspondence you're still receiving
55:23even though you're dead.
55:25I guess the news of my death
55:26hasn't reached everyone yet.
55:29And those newspapers?
55:30Any news you want to tell me?
55:33I don't know, I haven't had time to look at them.
55:36I brought them so you know what's going on in the world.
55:39Life goes on, daughter.
55:42And you're a living example of that.
55:44I've saved a little mourning.
55:46I've made so many compromises
55:47that I can't even read the press.
55:50Well, the truth is that I've had a very busy afternoon.
55:52Fabio insists on putting the day in your business
55:55at a dizzying pace.
55:58I can't believe it.
56:01I'm rotting in this hole
56:02and meanwhile I'm making it bigger.
56:05I told you.
56:07I say I'm not the only one
56:08who has to put the day in the news.
56:10Calm down, daughter.
56:11Is this how you intend to take revenge on them?
56:13This has only been a setback.
56:15I'm going to take revenge on all the harm they've done to you.
56:17I'm fed up with their promises.
56:20They're nothing but talk.
56:21Nothing is going well.
56:23That's enough.
56:24It's not like that.
56:25Everything is going as planned.
56:27If we continue with the plan...
56:28The plan? What plan?
56:29To hell with the plan!
56:32What's the plan?
56:33To give them a free pass so they can be happy?
56:37Calm down, daughter.
56:38You're going to get hurt.
56:39I'm not going to calm down.
56:40I'm not going to calm down.
56:41I want solutions and I want them now.
56:43If he's not capable of carrying them out,
56:45I'll do it.
56:47And I swear my heart won't beat.
56:54It's been a special night.
57:00Very special, yes.
57:04Good morning.
57:05Good morning.
57:06What are you thinking, daughter?
57:07You're not going to commit any atrocities.
57:09Don't talk to me like I'm crazy.
57:10I'm going to show you what it's like to suffer.
57:13Don't you see what happened here?
57:14Do you think there was a tomato here tonight?
57:16You're really naïve, Cañete.
57:18Do you think he's capable of hooking her up?
57:20That's what I'm saying, Trini.
57:21Solitude is very bad.
57:23And Don Fermin is more alone than ever.
57:25Yes, that's true.
57:26We'd talk about how we could get women to vote.
57:29I don't know if that kind of event is appropriate for Madrid Cabaret.
57:36And why not?
57:37Is it against women's voting?
57:40Good morning.
57:45What a surprise.
57:46Damn, damn.
57:47With the happy couple.
57:50Are you going for a walk?
57:51Yes, to the park.
57:54You don't know how long the transfer took.
57:56Apparently, there was an electrical failure or something like that,
58:00and I had to walk for 20 minutes.
58:03Your father asked me to teach you how to work, and he's interested in you.
58:06And since my name is Miguel Ruiz, I'm going to straighten you out.
58:09And do me a favor and put your pants on.
58:11I don't give a damn about love.
58:15Are you upset because I told you you weren't going to be the godmother of our wedding, Pietro?
58:19What did I say?
58:20Who can I help you with?
58:21Don't get so confident with me.
58:23I know you're the owner's son and they won't fire you,
58:25but I don't have to put up with your nonsense.
58:27What a temper.
58:28I was just trying to be nice.
58:30Well, you need practice.
58:31I need the godfather.
58:34Don Fermin.
58:35I heard you're coming to Mrs. Carla's office,
58:37and that means Mrs. Bárbara asked for help with Mrs. Morgüende.
58:42So what?
58:43This morning, Iñigo Peñalver showed up at the office.
58:47Inés, are you sure you're okay?
58:48Yes, yes, I'm fine, I'm fine.
58:49Really, I'm fine.
58:51You're the best sister anyone can have,
58:54but my heart belongs to César.
58:57I have to be by his side,
58:58even if that separates me from you and Uncle Fermin.
59:02Maybe forever.
59:04Take care of yourself.
59:05And take care of Uncle Fermin.
59:08As much as you've taken care of me.
59:12Forever.
59:13You have to come running home, Antonia.
59:15They're going to evict us.
59:16What do you mean, they're going to evict us?
59:22Miss Balbuena.
59:28Stop her.
59:30Don't touch her.
59:34Don't touch her.
59:38He's a gentleman.