Salón de té La Moderna - Ep 200
Salón de té La Moderna - Ep 200
Transcript
00:00Chapter 3 The Bar
00:12Anyway, there's one thing I don't quite understand.
00:16The Barraka? Barraka?
00:18Is that a new theatre they're going to open?
00:20No, no, no, no. It's an ambulance company.
00:23They're going to go through the villages.
00:25Federico García Lorca and Margarita Silvú are going to go through the villages?
00:29Yes, yes.
00:32They want to take the people who can't afford to go to the theatre
00:36to move to a city and see a performance in conditions.
00:40I don't know if they'll realize it,
00:42because the people of the villages will pay little and nothing to go to the theatre.
00:46Yes, yes. Of course, it won't be a profitable business.
00:49No.
00:50So I imagine they'll do it in an altruistic way.
00:54I see.
00:55Well, look how lucky those people are.
00:57Because, of course, seeing Silvú on stage is priceless.
01:00Yes, of course.
01:04So, did you have a good time last night, Mrs. Lezara?
01:09Yes.
01:10I have to say that the performance was extraordinary
01:13and the locations you got on stage were unbeatable.
01:19Besides, I have to say in one word that it was a unique evening.
01:26Well, I'm very happy to hear that.
01:28Although I'm not so happy about a unique evening.
01:32Because, I don't know about you, but I'd like to repeat.
01:38Me too. So whenever you want.
01:45You'll see what dress I'm going to wear this afternoon.
01:49You're going to be dazzling, for sure.
01:51Well, and on your wedding day even more.
01:54I still can't believe that the bookseller and you are getting married.
01:57So soon?
01:58Well, daughter, when love comes, it comes.
02:01Yeah, but don't be like that, so suddenly.
02:04Go away.
02:06Come on, Trini doesn't have anything left to get married to.
02:09Well, don't believe it.
02:10Because for us, the sooner the better.
02:13Yes, yes, I know.
02:15But then you have to get a date at the church,
02:18hang the ammonestations,
02:20order a wedding dress.
02:22It's a lot of things.
02:23But do you already have the wedding date?
02:25No, no, no, not at all.
02:26But, well, for us, if it can be in two weeks, better than three.
02:31Two weeks?
02:32Well, yes, the rushes have come in, yes.
02:34Three weeks, nothing.
02:36At least three months.
02:37And that with luck.
02:38Well, they'll know when they're getting married.
02:40Esperanza is better than you.
02:41Come on, I say.
02:42Come on, Marta, you have nothing to talk about
02:44because you don't know anything about life.
02:46Well, well, it's worth discussing.
02:48Besides, this is something that we are going to resolve between him and me
02:51and we will get married when it suits us.
02:53And that's it.
02:54And the ajuar, do you have it now?
02:56Yeah, well, it's that the ajuar, it's that for Miguel and for me,
02:59the ajuar is something very old-fashioned.
03:01Esperanza, the times are changing.
03:03Yes, well, time because it takes time to prepare a wedding.
03:06Let's see.
03:07You have to make a guest list.
03:09Send the letters.
03:10Eh?
03:11After they answer everything.
03:12At least that's two weeks.
03:14Well, that, two weeks, three weeks.
03:16Well, and then you have to look for a place for the guest.
03:19Eh?
03:20It is that a wedding is like a work in the rubble.
03:22Well, or not.
03:23The Antonia and Pietro thing has been seen or not seen.
03:25Well, what about Trini and Miguel?
03:27What do you tell me?
03:28By the way, Trini,
03:30it gives me that you know the bookseller more than you are saying.
03:34Or not?
03:39You had made me call, right?
03:41Don Fermín.
03:42Yes, yes, Teresa.
03:43I wanted to tell you something about Antonia and Pietro's banquet.
03:47Yes, it is already made.
03:49If you want, we can review it.
03:51Yes, yes, great.
03:52But I also wanted to talk to you about some details about the decoration of the living room.
03:56In fact, I have hired a decorator.
04:00My God, but yes.
04:01Let's see.
04:02Five minutes ago I had stayed with him in the living room to take measures.
04:07Excuse me.
04:14What are you looking at?
04:16Does it bother you that I had coffee with Don Fermín?
04:20Why bother me?
04:22I don't know, you now.
04:24Now that one thing I make very clear to you.
04:28Don't even think about airing this out there.
04:31Look, Mrs. Lázara, I already told you,
04:33but I'm going to repeat it again so that it is clear to you.
04:36I have no intention of airing anything out there.
04:39Well, you never know.
04:41Now that everyone has seen us at night in the theater,
04:45maybe they feel like gossiping.
04:48But I want you to keep in mind
04:51that what happens between Don Fermín and me is my business and no one else's.
04:56Well, I say it will be your business and Don Fermín's.
05:01Save yourself the impertinences.
05:03You know exactly what I mean.
05:05Yes, I know exactly what you mean.
05:08It's done.
05:09Solved.
05:10As I was saying, Teresa, the details of the decoration.
05:14I'd better not take up any more of your time.
05:16Go up to the first floor, if you please, and talk to the decorator.
05:19He knows everything that needs to be explained.
05:21Great.
05:22So I won't interrupt you in your coffee.
05:26And...
05:29Where were you and me going?
05:31Well, you were commenting on returning to the theater.
05:34Ah, yes, yes.
05:36Well, I'd really like that.
05:39Yes.
05:41Look, in fact...
05:42In fact, let's see what's in the poster right now.
05:46Yes.
05:47Yes, please.
05:54Can you tell me what you're looking at?
05:56Your gestures.
05:58You're more relaxed, more chubby, aren't you?
06:00Let's see, put yourself in profile.
06:02But what is Esperanza saying?
06:04I know what I'm saying.
06:06Let's see.
06:08It can't be that those rushes to get married are for another reason, right?
06:13Well, what reason is it going to be?
06:15The reason is that we're in love and we want to enjoy our love.
06:18That's it.
06:19And you haven't enjoyed it in a long time.
06:21Esperanza.
06:22Well, that's enough, Esperanza.
06:23You're a method in everything.
06:25And an indiscreet one.
06:26Watch out, I say it because there's confidence.
06:29People are very bad and then they start to notice.
06:32Tell me the truth.
06:33Are you pressed or not?
06:34What I am is fed up with your gossip.
06:36Do you agree?
06:37That you're a method in everything.
06:38And you're a jealous one.
06:40That's what it is.
06:41That you're angry to see people happy.
06:43And what you want is to spoil everything with your bad manners.
06:47Well, daughter, don't get like that, for God's sake.
06:49Well, don't tell me these things, okay?
06:53That's it.
06:54Well, daughter, calm down.
06:55Look, if you need a godmother for the wedding, count on me.
06:58Well, okay, I'll think about it.
06:59Thank you.
07:01Well, I'm going to get ready.
07:02Godmothers have to be the first in the church, like the grooms.
07:08Well, see you later.
07:10This woman is impossible.
07:12I can't stand her, huh?
07:13I'm telling you, I can't stand her.
07:23Here you have your infusion of honey, thyme and ginger.
07:27Be careful, it burns a little.
07:29This is thyme and ginger to the bone.
07:32Well, Inés, he was a specialist, like Agustín told you.
07:36Oh, I'm so lazy, Laurita.
07:37Can't we talk about something else?
07:38Is there anything more important than health?
07:41Do you know what a rehabilitation like the one Agustín proposes is?
07:45It's months, Laurita.
07:46The sessions are very expensive and without guarantees of success.
07:48No, I'm sorry, but no.
07:52I'll do it.
08:00Good morning.
08:04Lieutenant, what are you doing here?
08:07No one has invited you and if you want to talk to me, I already listen to my uncle.
08:09He will have to be present.
08:11As you wish.
08:13But it will no longer be necessary to notify your uncle.
08:16I come to inform you that the investigation on you has been closed forever.
08:22Oh my God.
08:25I see that you are happy.
08:26But then we will no longer see you around here.
08:30What a shame, right?
08:33Indeed.
08:35I will not question you again.
08:37Although I tell you that if it were for me,
08:42I would end up getting all the truth out of you.
08:47For the good or for the bad.
08:50I'm sorry, Lieutenant, but I can save those threats from my sister.
08:53It's not a threat, I just want you to know
08:57that this is not over because your name has been cleared of all suspicion,
09:03much less.
09:05But then why do they close the investigation?
09:08Do you want to make me believe that you do not know why the investigation is closed?
09:24Well, when you go through the bookshop, you will not believe what you see.
09:28Why?
09:29Well, yesterday I was tidying up the shelves for four hours.
09:33I left them to take a picture of them.
09:35Imagine that even my father congratulated me.
09:38Wow, it seems that you are reforming.
09:41Only for a while.
09:43After the effort, I plan to lie down and wash all the rest of the week.
09:47Not to mention the month.
09:48Don't get mad, woman.
09:50I'll try to keep up with the file.
09:53If in the end you are chit-chatting all day, you are also very tired.
09:57It's what I said, shamelessly.
09:59It's not right to abuse.
10:01Imagine that a boy as handsome and nice as I am,
10:06also had an exemplary behavior.
10:08Well, there would be no girl who would resist me.
10:11You're kidding me.
10:13You're kidding me.
10:14Well, there would be no girl who would resist me.
10:17I'm feeling like giving you a cup like that.
10:21Hey, and now that I'm a man of profit thanks to you,
10:25can I invite you to have a snack to thank you for the advice?
10:32You know what?
10:34I don't eat anything in three hours.
10:36Well, we agreed on that.
10:39Well, let's see, who says snack says have a coffee.
10:44Coffee attacks my nerves.
10:46Well, a soda.
10:48And you ask for that mouth.
10:50It's just to take a walk together.
10:52Yeah, yeah, you don't have to explain it to Albitas,
10:54and I know where you're going.
10:56Maybe I've been too direct.
10:58Maybe a little.
11:00I'm going to get them.
11:02Besides, today it's impossible because I have a wedding.
11:05Who's getting married?
11:07Antonia, I already told you.
11:09Ah, yes, your second mother, right?
11:11Well, nothing.
11:12Have fun and...
11:14I'll come looking for you tomorrow.
11:17I'm going to take you to a place that will leave you impressed.
11:20The best snacks in Madrid, improving the present.
11:23Well, you're going to take me if I leave.
11:26Or are you going to drag me?
11:28Well, I intend to keep inviting you until you say yes.
11:32Look, those airs won't work with me.
11:36You'll be very studious and very gentleman and everything you want,
11:39but sometimes I need more than a snack to impress me.
11:44Don't be like that, woman.
11:46Well, I'm leaving because I have a lot to clean up.
11:49Well, but...
11:51Do you give me permission to ask you again tomorrow?
11:54Try it.
11:56Let's see what happens.
11:57Let's go.
12:08Your uncle has raised a complaint to the superiority.
12:13It can be seen that he is very well related.
12:16And unfortunately in this country, justice is worth less than certain friendships.
12:22Very well, thank you very much, Lieutenant.
12:24And now, if you don't mind, leave my house, please.
12:30May you be lucky when it comes to reconciling the dream.
12:35I sleep perfectly, gentleman.
12:38I am innocent and I have a very calm conscience.
12:42Where did I hear that?
12:45Oh, yes.
12:47Absolutely all criminals say so.
12:51Let him leave at once, please.
12:54I'm going to keep looking for his friend Cesar.
12:59He has no one to protect him.
13:02So sooner or later he will fall.
13:12Goodbye, Lieutenant.
13:18What a cheap absolution.
13:19Inés, don't get nervous, it's not worth it.
13:22The important thing is that she is going to leave you alone.
13:25Well, will you help me with the wedding dress?
13:37Let's see, are you or are you not?
13:40And I had told Antonio that I would arrive first.
13:43And we are not going to get there even if I want to.
13:45It's these damn twins that don't close me.
13:47There are twins, don't say that word, for God's sake.
13:49And give birth, twins.
13:52Do you want me to get a nervous attack?
13:54Woman, don't be so apprehensive.
13:56Apprehensive? Look, Esperanza is asking me all day
13:59if I'm not pregnant here.
14:01Let's see, let's see what I'm afraid of.
14:03That woman is a gossip.
14:05Yes, gossip.
14:07And well, when two people commit so quickly, it is for what it is.
14:10And I tell you that when this baby is born,
14:12everyone is going to start making accounts.
14:15Well, if we organize the wedding quickly,
14:17we can say that we got seven months.
14:19Well, for the hair.
14:21And it would have to be very fast.
14:24Anyway, we'll have to see how, I don't know,
14:27we do a wedding that is not a wedding.
14:29Well, one of the two gets very sick
14:31and we get married without a mortal article.
14:33What are you saying, like Matilde?
14:35Oh, sorry.
14:37What are you saying?
14:39But well, also in that case and in all,
14:41we will have to look for an imaginary priest.
14:43Of course, we are looking for an actor, that's it.
14:45I don't know, if we don't have money,
14:47how are we going to pay an actor?
14:49Look, for now ...
14:51Let me see, let me see.
14:53For now, let's focus on this wedding,
14:56which is today, and on top of that we arrive late.
14:58Okay? See? That's it.
15:00Come on.
15:02Come on.
15:04Let's see.
15:07Genebra, learn.
15:09But what are you doing, man?
15:11My love, we don't live together.
15:13Oh, how complicated.
15:15Do you remember?
15:16Yes, yes, yes, how complicated all this is.
15:17Well, I'm going.
15:19Oh, but how handsome you are.
15:21Yes, you are handsome.
15:23I eat you.
15:25I want to marry you again.
15:27Come in, come in.
15:32Do you want milk or sugar?
15:34No.
15:36I want you to answer my question.
15:38Why don't you want to see the specialist?
15:41Because I'm tired.
15:43Because it's not worth so much sacrifice
15:45for them to tell me later
15:47We have tried, but nothing can be done.
15:49And how do you know they're going to tell you that?
15:51That's the problem.
15:53I don't know what's going to happen.
15:55And I don't want to be in rehab for a year
15:57if I don't have any guarantees.
15:59No, first of all,
16:01I don't think a year will come.
16:03Secondly, that guarantee will be given to you
16:05before the treatment is over.
16:07You won't have it with certainty until the last moment.
16:09But for that, you have to go,
16:11so that they see you, so that the treatment begins.
16:13Thank you, but the answer is still no.
16:15I can't do this, Inés.
16:17You are my protagonist.
16:19I can't do the pharaoh's court
16:21without you in charge.
16:24Agustín, it's just that...
16:26I don't have the strength.
16:28I don't know how to explain it to you,
16:30but I don't feel prepared for this.
16:34Well, look,
16:36I think exactly the opposite.
16:38And, humbly,
16:40I have much more experience
16:42than you in the field.
16:43I really can't accept the role.
16:46I have to find another singer
16:48and write the play.
16:50Otherwise, I will feel very guilty.
16:56It's a real shame, really.
16:58And not only because of my role,
17:00but because of the Spanish song.
17:04I really think
17:06a great promise is being lost.
17:08Thank you.
17:10If you don't mind,
17:12I will always be very grateful
17:14for everything you have done for me
17:16and for giving me this opportunity.
17:18And I will always think
17:20that I made a mistake.
17:22But I don't want to insist anymore.
17:29I guess I have to go, right?
17:32You have to find an actress as soon as possible.
17:36Can I come and visit you sometime?
17:39Yes, of course.
17:41Thank you.
17:43Take care.
17:45Oh, and remember your sister, please.
17:48Of course, don't worry.
17:58Hi.
18:00Laura, you look gorgeous.
18:02Do I?
18:05I don't know if they will let you in the church.
18:07Let's see if you're going to make your boyfriend fall in love.
18:09Don't be silly.
18:11By the way, what are you doing here?
18:13Shouldn't you be at the wedding?
18:15No, no, my uncle is taking me by car,
18:17so I arrived in time.
18:19You look spectacular.
18:21Good morning, ladies.
18:23Wow, wow.
18:25You look gorgeous this afternoon, Laura.
18:27Thank you very much.
18:29I'm going to a friend's wedding.
18:31Have a good time at your wedding.
18:33By the way, I just left
18:35to talk to your sister.
18:37Oh, really? What did she say?
18:38Well...
18:40Bad news.
18:42She doesn't want to know anything about the rehabilitation.
18:44Wow.
18:46I thought you would convince her.
18:48I've tried to be active and passive,
18:50but I can't force her to do it.
18:53Don't you think it's a shame
18:55that my sister wasted that gift God gave her?
18:57It's a shame, yes.
18:59It's a lost opportunity,
19:01but there's nothing more we can do.
19:06Well...
19:08I just came to say hello,
19:10so...
19:12have a good time at the wedding.
19:14Thank you.
19:23Uncle.
19:25What's with that face?
19:27No, no, I'm fine. Come in.
19:29Would you like some coffee?
19:31No, no, thank you.
19:33How are you?
19:35Well, fine.
19:36Lieutenant Lorenzo just came in
19:38and he told us that the case is closed
19:40thanks to you.
19:42Well, I made a couple of calls, yes.
19:44Thank you.
19:46By the way, I just ran into Agustín on the stairs.
19:48Have you talked about the diagnosis?
19:50Uncle, I don't want to talk about that anymore.
19:52I really need to forget about this as soon as possible.
19:54But how are you going to forget, honey?
19:56Uncle,
19:58you never liked that I was a singer, right?
20:01No, no, woman, no, no.
20:03It's not that.
20:04I mean, a show is...
20:06it's uncertain, problematic,
20:08but, well, after seeing your talent, I thought...
20:11And one day he told me
20:13why I didn't forget to sing
20:15and he was going to work with me at La Moderna.
20:17That offer is still on.
20:19What? What?
20:21Yes, that...
20:23But what?
20:25Do you want to come work at La Moderna?
20:27Yes.
20:29But, Inés, what's wrong with your performances?
20:31Well,
20:32I've already made a decision and...
20:34and I'm not going to perform again.
20:37Agustín already said that.
20:41Well...
20:43I don't know what to tell you, Inés.
20:45It's...
20:47I didn't expect that...
20:50Of course the offer is still on.
20:52There's more to come.
20:54My nieces will never miss
20:56a job at La Moderna.
20:58In fact,
20:59I've been thinking for days
21:01that I need a personal secretary.
21:04Well,
21:06I just found one
21:08and I assure you she won't regret it.
21:10Are you sure, Inés?
21:12Yes, man.
21:14Yes, I have to be realistic.
21:16I won't be able to sing anymore
21:18and I have to make some profit.
21:20Well,
21:22if that's what you want,
21:24count on it.
21:26Thank you.
21:27I have to go.
21:29Sorry, sorry.
21:31I have a wedding.
21:33Of course, a wedding.
21:35But Laurita went out to pick him up.
21:37Maybe she'll be late.
21:39No, no, no.
21:41Don't worry, we'll go by car.
21:43But it hurts me to leave you here
21:45like this, as you are.
21:47No, no, I'm fine.
21:49Really, I'm better.
21:51But when will I start?
21:53Tomorrow?
21:55Tomorrow? No, no, no.
21:57The day after tomorrow, okay?
21:59Yes, of course.
22:01Now rest and recover well.
22:03Thank you.
22:06Goodbye, honey.
22:08Goodbye, uncle. Thank you.
22:14Well, I'll see if my uncle is ready
22:16and we'll leave now.
22:18One question, Laura.
22:22Imagine you like a boy.
22:24Me?
22:25I don't like anyone.
22:27Well, woman, it's a guess.
22:29Imagine you like a boy
22:31and a friend of yours also likes that boy.
22:33But your friend doesn't know
22:35that you've noticed him before
22:37because you haven't told anyone.
22:39And what happens?
22:41Your friend asks you to pretend to be Celestina
22:43with that boy.
22:45What would you do?
22:47With the boy I like?
22:49Yes.
22:50I'm going to tell her to forget him.
22:52Yes, right?
22:53Yes, that's what I'm thinking.
22:56Why are you asking me this question?
22:58No, because a friend of mine is in this situation.
23:02Well, wish her luck.
23:04Because she's going to need it.
23:06Yes, yes, poor thing.
23:08Well, come on, and you go to the wedding.
23:10Yes, see you later.
23:12You look gorgeous.
23:14Thank you.
23:16And the upper floor?
23:18Is everything ready for the banquet?
23:20Very ready.
23:22Two hours ago.
23:24Good.
23:26The cupboard has been checked
23:28because I don't want a single stain of lime.
23:30The cupboard is backlit.
23:32It's a trial.
23:34As always.
23:36And if you have any questions,
23:38you can go up and check it yourself.
23:40Of course I will.
23:41In La Moderna we've been preparing agapes and banquets for many years.
23:45We're not going to make a mistake
23:47at the wedding of some colleagues.
23:49Precisely because they are colleagues
23:51and there is trust,
23:53it is easier to relax
23:55and not do things as God commands.
23:57Don't worry, it won't happen.
23:59So, can we retire?
24:02I trust you brought the suit to change here.
24:05What can I do?
24:07If I didn't, I wouldn't have time.
24:08Don't complain so much, Cañete.
24:11The captain is always the last to leave the ship.
24:14You, as head of the waiters,
24:16and you, as in charge,
24:18should set an example
24:20and be the last to leave here.
24:24Can we retire?
24:26Well, for my part, it's fine.
24:29As long as you don't detect any problems in the living room,
24:32you can go and change.
24:34If you allow me,
24:35you can go and change.
24:37If you allow me.
24:42What is it?
24:45Three times already.
24:47Why do I go without pendants at the end?
24:50Do you want me to help you?
24:52Do you know how to put pendants?
24:54Well, I haven't put a pendant in my life,
24:56but I could try.
24:58No, it doesn't matter.
25:00I have butter in my hands today.
25:01You haven't slept much tonight, have you?
25:04With the valerian you gave me,
25:06I fell asleep right away,
25:08but at three in the morning,
25:10my eyes were like plates.
25:12And I confess that all I did
25:14was watch the terrace and the door.
25:16Honey, you don't have to worry about that.
25:18No one is going to enter this house.
25:20If they try, I'll make sure
25:22they regret it for the rest of their lives.
25:26Iñigo, I know it's crazy,
25:28but I don't know what to do.
25:29I know it's crazy.
25:31And I know it's impossible for it to be her
25:33and for someone to come from beyond
25:35to scare me.
25:37I know that.
25:39But I swear there was someone outside.
25:41Honey, you don't have to swear anything
25:43because I believe you.
25:45But there has to be a logical explanation
25:47for all this.
25:49Of course there is.
25:51Someone is trying to drive us crazy.
25:53Well, if that's the case,
25:55don't worry because we'll find the person
25:57behind all this.
25:59You're going to come running from Madrid
26:01every time I get scared.
26:03Well, tonight you don't have to worry
26:05because I'm not working.
26:07I'll stay here with you.
26:09Don't worry.
26:11And tomorrow night?
26:13Well, tomorrow...
26:15God will tell tomorrow.
26:17But honey, really,
26:19don't think about all this.
26:21Don't get obsessed.
26:23Nerves don't suit you.
26:25It's not an obsession.
26:27It's a memory.
26:29Listen to me.
26:31Let's do something.
26:33What if we pay attention
26:35to how we leave things?
26:37And then, when we come back
26:39and they've moved,
26:41someone has entered the house.
26:43Then we'll call the police.
26:45Is that okay?
26:49Yes.
27:00Honey.
27:03Matilde.
27:05Honey, we have to go.
27:07The wedding.
27:09Matilde.
27:12Yes.
27:14Yes, yes.
27:16The wedding.
27:18The wedding.
27:20I'm not going to think about all this.
27:22You're right.
27:24We'll have a great time.
27:26Okay?
27:27Of course.
27:29Come on, let's go.
27:39The Sergeant who's lost to the Spanish army.
27:42They weren't so strict in the military.
27:44Have you seen how hard they try
27:46to make it clear that she's in charge?
27:48Unless she finds a problem in the living room.
27:51No, no. Detect.
27:53Unless she detects
27:55that besides being in charge
27:57she's a snitch.
27:59You should have seen her this morning in the office.
28:01How she talked about Mr. Fermin.
28:03It seemed like they were engaged and everything.
28:05But, Teresa,
28:07do you really think that's going to happen to Mayores?
28:10The important thing is not what I think,
28:12but what she wants.
28:14And what she wants
28:16is to tie Mr. Fermin up.
28:18Well, well.
28:20I don't think our boss
28:22is so easy to hunt.
28:24I hope you're right, Cañete.
28:25But Mrs. Lázara is very smart.
28:27And Mr. Fermin too.
28:29And he'll know that this woman is not interested.
28:32Look, I'll tell you something, Cañete.
28:34If he doesn't know,
28:36we'll have to open his eyes, you and me.
28:39We have to unmask Mrs. Lázara
28:41before it's too late.
28:43No, no, Teresa.
28:45We have to be very careful.
28:47This woman has the pan in her hand.
28:49And facing her
28:51will only bring us problems.
28:53Yes, yes.
28:55It's in her head.
28:57But we have to act.
28:59I'm very clear about that.
29:01Are you with me?
29:03Me? Always with you.
29:05To death.
29:07Are you sure?
29:09Sure.
29:11Don't have any doubts.
29:14Hey, Cañete.
29:16You know that even if we're together in this,
29:18there's nothing else between us, right?
29:22Teresa, my feelings are what they are.
29:25I love you.
29:27I love you with all the strength of my heart.
29:29And now with so much wedding around us,
29:32look, I shit in the sea.
29:35Do you want to marry me?
29:37Cañete.
29:40Cañete.
29:43Cañete.
29:45Yes, sorry.
29:47That if you are clear that between you and me
29:49even if we're together in this,
29:51there's nothing else.
29:53Yes, yes, Teresa.
29:55You've made it clearer than water.
29:57I'm only in this to help you
29:59and to help Juan Fermin.
30:01Well, I'm calmer.
30:03Thank you.
30:05I'm going to change.
30:20But what aisle, Esperanza?
30:23I'm the groom, not a bullfighter.
30:25And I'm the godmother and you have to listen to me.
30:27Walk down the aisle as I told you.
30:29Esperanza, please.
30:31It's just that the bride walks down the aisle.
30:34I have to wait for the altar.
30:36I know, damn it.
30:38It's for when he goes out with the bride.
30:40I don't know.
30:42I don't know.
30:44I don't know.
30:46I don't know.
30:47It's for when he goes out with the bride.
30:49It's not going to happen anyway.
30:51Look,
30:53I understand that you say it with good intentions,
30:56but what you say doesn't make sense
30:58and it's making me nervous.
31:00And you're sabotaging me and you're doing it on purpose.
31:02Of course, you didn't want me to be the godmother.
31:04But don't shout, Esperanza.
31:06Not even on my wedding day.
31:08Well, we'll see if he gets married.
31:10Maybe Antonia regrets it.
31:11Maybe Antonia regrets it.
31:16One more little fork and it's done.
31:20I don't see it, Marta.
31:22I don't recognize myself.
31:24You don't? You look like a queen.
31:26Yes, the queen of the seas, Marta.
31:28I can't get married like this. I'm sorry.
31:30Antonia, don't start with your nerves.
31:32The godfather hasn't arrived yet and you haven't even tried on the dress.
31:34Well, that's another one. Where's the dress?
31:36Venancia has it.
31:38I wanted to iron it last before I put it on you.
31:39Venancia?
31:41The sister of Venancia, who's a hairdresser.
31:43Tell her to come and make me a simpler hairstyle
31:45so I don't look so different.
31:47Antonia, you look gorgeous.
31:49Different? Of course it's different.
31:51But why is it a different day?
31:53Or do you put on a wedding dress every day?
31:55No, right? Well, that's it.
31:58I'm sorry, I'm sorry.
32:00I'm a little nervous, forgive me.
32:02Of course, it's normal, Antonia.
32:05Hello, may I come in?
32:07It's Laurita.
32:10Relax.
32:13Come in.
32:15Hello.
32:17You look beautiful.
32:19Thank you, but for beautiful, Antonia.
32:21I'll bring the bouquet.
32:23My uncle says you don't have to hurry.
32:25He waits for you in the car all the time.
32:27Please don't tell him I'm not dressed yet.
32:29No, no, don't worry. Do you need help with anything?
32:31I need this girl to go get the dress.
32:33Yes, I'm coming.
32:35I'm just going to put a few more curls here.
32:36Another one here.
32:38You look like a seamstress, Marta.
32:40Well, I'll leave you alone. I'll wait outside.
32:42Yes, thank you.
32:45Relax.
32:51But what voices are you giving?
32:53I can hear them from the street.
32:55The voice I'm going to give to your boss.
32:57Where is that man, if you can find out?
32:59He's coming right away, Mrs. Esperanza, calm down.
33:01That's why I'm here.
33:03Cañete has delegated everything to me until he comes, but it won't take long.
33:04Well, then take it.
33:06Come on.
33:08The list of how to seat people on the benches.
33:10These are the benches for the people of La Moderna.
33:12These two for the Motriz family.
33:14And this for the Martos family.
33:16Really, Mrs. Esperanza?
33:18Isn't this better the other way around?
33:20Oh, don't argue with me.
33:22You don't know anything about this.
33:24And you have the diplomatic flesh, I'm not telling you.
33:26Come on, bring it.
33:28That's it, I'll do it myself.
33:30I have to do everything myself.
33:32Come on, bring it.
33:34Please, that's enough.
33:36Thank you.
33:40Pietro, teacher.
33:42How's everything?
33:44Is this okay?
33:46Because if I don't have a little reconstituting here,
33:48I don't see the spirits.
33:50No, no, thank you, thank you.
33:52It's just that I have a bad feeling.
33:54Don't say that.
33:56Although it is true that the last wedding of an employee of La Moderna
33:58ended in non-wedding and tragedy, but calm down.
34:00I'm not saying that.
34:02And you too.
34:04I'm not saying that.
34:06Let's see, you were a hero.
34:08Pietro, teacher, I just ...
34:10Please, please.
34:12Between one and the other, leave me alone.
34:14Come on, breathe.
34:16Leave me alone, leave me alone.
34:18It's true, it's true.
34:25You should call the newspapers
34:27so that you appear on the cover of the newspapers,
34:29that you are very beautiful,
34:31more beautiful than Maria de las Mercedes.
34:32If they have already put the dress on,
34:34I don't even want to imagine it.
34:36Well, don't imagine it and please,
34:38go get the dress.
34:40Well, one minute.
34:42Don't touch the hair.
34:44Yes.
35:03Good morning, Antonia, I'm already here.
35:08What do you think?
35:10What an illusion, what an illusion.
35:23Welcome, Don Guillermo.
35:25Mrs. Mara Jesús, what a joy to see you.
35:27You are radiant as always.
35:29Come in, welcome.
35:31Please, those of Martos in front of the counter.
35:34I think it was like that, yes.
35:36And those of Motil here in the back.
35:38They are very kind.
35:40Thank you, welcome, welcome everyone.
35:44Oh, ma'am, or miss,
35:46today is my lucky day.
35:49What am I, Elias?
35:51Oh, the mother who brought me.
35:53You are Trini.
35:55Girl, with this elegance, I didn't recognize you.
35:57Son, you say it as if it were normally a facade.
35:58No, woman, I say it,
36:00because if you are not in uniform and you have come alone,
36:02Miguel is not coming?
36:04Yes, well, I guess he's coming, of course,
36:06but well, obviously he will come on his own,
36:08because I remind you that we don't live together.
36:10Yes, yes, of course, of course, Trini.
36:12Of course, we are boyfriends,
36:14but at night, each mochuelo to his olive,
36:16and that's it.
36:18Yes, yes, it has become clear to me,
36:20I have understood it well, Trini.
36:22As it is natural and the most decent,
36:24come on, we are boyfriends,
36:26but each one to his house,
36:28until we get married, of course.
36:30You say well, very well, Trini.
36:32If you want to sit down ...
36:34Because this is the most normal,
36:36the most normal, the most decent.
36:38Come on, we are boyfriends,
36:40and that each one to his house,
36:42until we get married.
36:44Hello.
36:46But good morning, how handsome,
36:48and Trini is radiant.
36:50Where is Miguel?
36:52Well, Miguel comes on his own,
36:54because we don't live together.
36:56As it is logical, Laurita,
36:58with permission,
37:00step to the godmother and the boyfriend.
37:02But of course, what a more elegant boyfriend.
37:04Yes, elegant and nervous,
37:06as you have done the walk.
37:08What a walk?
37:10Yes, I say the same, but the woman does not.
37:12And Miguel, didn't he come with you?
37:14It's a question, it's a question,
37:16that's the delicate matter.
37:18Let's see, Miguel comes on his own,
37:20on his own, as it is natural,
37:22and I don't know why everyone is asking me about Miguel,
37:24because we don't live together,
37:26it's as if we lived together.
37:28No, the traffic.
37:30That they will come after the bride.
37:32Master, calm down,
37:34everything is under control,
37:36except your nerves,
37:38at a wedding that is appreciated,
37:40the bride has to arrive late,
37:42if it weren't for these moments that we spend in life.
37:44You are nervous.
37:46Like everyone.
37:48Laurita, look to see if Mr. Fermin's car is coming,
37:50and if you see him,
37:52tell him to turn the apple a couple of times,
37:54because the guests have not finished coming.
37:56Okay?
37:58Are they from La Corrala?
38:00Yes, right?
38:02Well, back here, yes, thank you very much.
38:12I'm afraid I haven't got the pasta you like.
38:16It doesn't matter, I'm not hungry.
38:18There was hardly anyone in La Moderna,
38:20apparently almost all the staff
38:22is at the wedding of a dependent.
38:24For me, let them all burst,
38:26and don't go back there to buy me pasta.
38:28I thought you liked to drink tea
38:30with the pasta from La Moderna.
38:33There wasn't, but I brought you others.
38:35Look, try this.
38:37What are you thinking, honey?
38:41I have jaqueca.
38:43Ah, I brought you a pill for headache.
38:45I've already taken one.
38:47Do you need anything else?
38:49What I need you can't give it to me.
38:55What are you talking about?
38:56Nothing, nothing.
38:58And can you tell me why you have that attitude?
39:02Is it because of the minister?
39:04It's for everything.
39:06It's because the company of my late daughter is in danger
39:09and you don't move a finger to help me.
39:11But Barbara, you know I don't live for you.
39:14But I'm a man of principles
39:16and there is a certain line that I will never cross.
39:19I am also a woman of principles
39:21and one of them is loyalty.
39:23And if you were in my shoes,
39:24you could count on me.
39:26I wouldn't let you down
39:28for a ridiculous scruple.
39:30But what goes against the law,
39:32what you're asking me?
39:34The law, the law.
39:36When a man loves a woman,
39:38he is willing to do everything necessary.
39:40No.
39:42Especially if what I'm asking you is very easy.
39:44No, no, no, please.
39:46Don't doubt my love.
39:48That you are the most important person in my life.
39:51But what you're asking me is
39:52immoral.
39:55It's okay.
39:57It's okay.
39:59We'd better leave it.
40:01I have a terrible headache
40:03and your vocabulary is getting worse.
40:06Don't you realize?
40:08You need to be alone, Fabio.
40:22Fabio.
40:38My uncle is taking one last ride
40:40with the car and he'll be there in a few minutes.
40:42Sorry, sorry, sorry, sorry, sorry for the delay.
40:45Tini, as she came on her own,
40:47has arrived earlier.
40:49Of course, it's what she has.
40:50Of course, if you want, you can go up to the cockpit
40:53while the bride arrives and tell him.
40:55So that he doesn't find out.
40:57Come on, sit down and shut up.
40:59You could have been a little more subtle.
41:01You know I'm not lying to you.
41:05I'm coming for the hair.
41:07Don Fermín is already parking.
41:09It was time.
41:11Do you want hope?
41:13The vampire doesn't let go of one so easily.
41:20Look how beautiful Matilde is coming.
41:22Oh, yes, how beautiful.
41:24It's a shame she can't get married as God commands.
41:26It has to be a bad omen.
41:28She was coming to a wedding after the mother thing.
41:30Shut up, whore.
41:43Are you okay?
41:45Yes.
41:47Yes, really, I'm much better.
41:48Let's enjoy and support our friends, okay?
41:54There's the bride.
41:56Beautiful, beautiful.
42:11Beautiful.
42:18Beautiful.
42:27In the name of the Father,
42:29the Son, and the Holy Spirit.
42:32Brothers and sisters,
42:35we are gathered here,
42:37even the less fortunate,
42:40to unite in holy marriage
42:43to Antonia and Matilde.
42:48Amen.
43:09Melina, it's me.
43:11Listen to me.
43:13I need you to buy me a ticket
43:15to get my daughter out of Spain as soon as possible.
43:18I said as soon as possible, I said as soon as possible, Melina, now!
43:22And think you'll have to help me get her out.
43:25I'm counting on you.
43:28Let me know when you have it.
43:48I'm counting on you.
44:18Let's go.
44:48So, if you have decided to marry,
44:52join your hands
44:54and manifest your consent
44:56before God and His Church.
44:59Trini,
45:01be careful that when Antonia throws the bouquet,
45:03you have to take it.
45:04You'll be lucky.
45:05Again?
45:07Pietro Facciolo,
45:09you want to receive Antonia Hinojosa
45:11as your legitimate wife
45:13and you promise to be faithful
45:15to her wealth and poverty.
45:18In sickness and in health.
45:22And thus love and respect her
45:24every day of your life.
45:27Wait a minute.
45:29You can't get married.
45:33What's going on?
45:35This is another one of your jokes.
45:37I have nothing to do with it, boss.
45:40Who is it?
45:42You saw my life.
45:44Where are you going?
45:46Hold me, I'll get you out of here.
45:48Control yourself, please.
45:50This wedding can't be celebrated.
45:56It's not possible.
45:58Who is this woman, Pietro?
46:01It's not possible.
46:06Pietro.
46:09It can't be.
46:12I thought you were dead.
46:14Let's see, ma'am.
46:16What is that impediment?
46:19Pietro Facciolo can't get married
46:22because he's already married to me.
46:24What's going on?
46:27What?
46:29But who is this woman, Pietro?
46:37It's Lucia.
46:39My wife.
46:41What?
46:44Pietro,
46:46but you weren't widowed.
46:49I thought so.
46:53Everyone thought so until now.
47:00I know I'm starting next week,
47:02but I wanted to take advantage of these days
47:04to find out how the business works.
47:06From now on, my niece Inés will be my personal secretary.
47:10Pietro, is this a joke?
47:12No, it's not.
47:16Lucia.
47:18Carla's perfume.
47:20Don't you smell it?
47:22It's her scent. It's everywhere.
47:24Listen to me.
47:26I'm going to see if there's anyone else at home.
47:28At this moment, she'll think she's seeing ghosts.
47:31Are you willing to end up in jail?
47:33Before that, she'll end up locked up in a asylum.
47:35And nothing will make me happier.
47:38I've decided that we're going to liquidate the Morcone company.
47:41Because the day of our wedding is coming.
47:43I didn't know Lucia was alive.
47:45How come she hasn't given any signals all this time?
47:46I don't know what's going on in La Moderna,
47:48but all weddings end in tragedy.
47:51Don't say that.
47:53Where have you been all this time?
47:55Where? And why didn't you write me a letter?
47:57Not even one.
47:59She'll want something, won't she?
48:01To appear like this at the wedding and prevent it.
48:03How understanding you are.
48:05Anyone else would have put Pietro on the street for Rigam.
48:07You are the deceased woman.
48:09Well, the one who was your wife before.
48:11Although, well, she's still your wife, isn't she?
48:13She'll have the other one in her house.
48:14Don't say that.
48:16It's true, I'm the other one.
48:18She's his legitimate wife.
48:20I'm the one who's left here.
48:22Do you know how many times I've dreamed of seeing you again?
48:25Of hugging you again.
48:27If all I want is to know what's going to happen to us, Pietro.
48:29And what intentions does that woman have?
48:31You didn't come to buy a gramophone, did you?
48:33But don't get angry, your company is so nice.
48:35Thank you very much for the compliment,
48:37but I should be ashamed of wasting my time like this.
48:39We could also just take a walk around the retreat.
48:42I need your help, please.
48:44Laurita doesn't even want to have a snack with me.
48:46I'm glad you're telling me.
48:48Look how she's getting up.
48:50Sorry.
48:52Do you think she's getting up a lot?
48:54Well, she's practically hugging him.
48:56Do you know what I'm telling you?
48:58I'm going to investigate that woman.
49:00What do you mean by investigate?
49:02One thing is for her to come to the store,
49:04to see that I want a gramophone to walk around,
49:06and another thing is for her to come and bother my sister.
49:08Look, I deeply regret that you think that of me,
49:10but since I see that it's going to be impossible
49:12to convince her of my true motivations,
49:14I'm going to have to do something.
49:16Matilde.
49:18Matilde.
49:20I heard Carla.
49:22It's as if she were in this house.
49:24I can't take it anymore.
49:26Calm down.
49:28Calm down.
49:30Calm down.