Salón de té La Moderna - Ep 201
Category
📺
TV ve DiziDöküm
00:00A FEW HOURS EARLIER
00:15Poor Antonia, really.
00:17Seeing her up close...
00:18Darling, what's the matter?
00:22Nothing.
00:24It's just that...
00:27Do you want me to go in and see if everything is as you left it?
00:33Do me a favour.
00:47Darling, everything is as you left it.
00:56Come in.
01:06See?
01:08It's in place, right?
01:17Darling...
01:19Is something wrong?
01:21No.
01:26It's her perfume.
01:28It's her perfume.
01:30Don't you really smell it?
01:31What do you mean it's her perfume, darling?
01:34It's Carla's perfume.
01:36Don't you smell it?
01:38It's her scent. It's everywhere.
01:42Darling, yes, I smell something, but it's not Carla's perfume.
01:45What do you mean?
01:46Maybe it's us who brought her perfume.
01:51Us?
01:53Yes, because it could be that...
01:57...since she's with the guests at the church, the scent has stuck to us.
02:01No, that's not it.
02:03That's not it.
02:05The scent was already here.
02:06Someone came in while we were out.
02:09Okay, listen to me, listen to me, darling.
02:11Listen to me.
02:13I'm going to see if there's anyone else at home.
02:16You stay here.
02:17Don't worry.
02:42No.
02:59Darling.
03:01Listen to me.
03:04There's no one at home.
03:07We're alone.
03:09Don't look at me like that.
03:12Don't look at me like that.
03:15I know...
03:17...that Carla didn't come into the house.
03:19I know that Carla is dead.
03:22But someone came into the house and wanted me to know.
03:24And that person was wearing Carla's perfume.
03:26Matilde, please.
03:34I don't know.
03:35Matilde.
03:36I don't know.
03:37Maybe it's just my imagination, hallucinations.
03:39I just don't know.
03:40Nothing makes sense anymore.
03:43Don't worry, darling.
03:46Don't worry.
03:48I don't know what's real anymore.
03:51And what's a lie.
03:53The other day I was about to stab you with a knife
03:55because I was convinced that I had seen Carla.
04:00What's wrong with me?
04:04What's happening to me?
04:12I don't know.
04:17Do you want me to go look for her?
04:20No, no, no.
04:23She must have gone with that woman wherever she wants to go.
04:42Be careful, I don't know what...
04:44Thank you, darling.
04:53Where did that woman come from, Marta?
04:59Why is she coming on our wedding day?
05:06I'll talk to Antonio.
05:13Hi, Pietro.
05:14Hi, Marta.
05:15Come in.
05:28How is she?
05:30I don't know.
05:32Have you eaten anything?
05:34Are you hungry?
05:36No.
05:38And her?
05:39No.
05:41I haven't eaten and I'm not hungry.
05:43Thank you.
05:50Well, I'll leave you two alone.
05:52Thank you.
06:08Has she recovered?
06:11Halfway.
06:13She's still there in the pantry.
06:16They're giving her liquids because she was...
06:19how do you say it in Spanish?
06:20Dehydrated.
06:22Exactly.
06:24Have you left her alone?
06:27Yes.
06:29I'll go see her later.
06:35Now I needed to talk to you.
06:41Antonio, I'm sorry you had to go through all this.
06:44I'm sorry.
06:49I didn't know Luchi was alive.
06:54She disappeared 15 years ago.
06:58I swear.
07:00I didn't know.
07:04You have to believe me, please.
07:07I believe you.
07:09I believe you.
07:11But...
07:14how come you haven't given any signs all this time?
07:19It's incomprehensible.
07:22You haven't even told me if Giancarlo knows anything about her.
07:33Oh my God.
07:36I believe one thing, that life has to be lived and...
07:38that everything comes down in a moment.
07:43Antona, all I ask is that you don't think, please.
07:47Because this is not going to change anything.
07:50How is it not going to change anything, Pietro?
07:53She's your son's mother.
07:55You're legally married to her.
07:58If that woman wants you to sleep with her tonight, Pietro, for God's sake.
08:02How is it not going to change anything?
08:04I mean it's not going to change anything.
08:07I mean it's not going to change anything I feel.
08:13Antonia.
08:15Look at me, please.
08:19Antonia.
08:25I love you.
08:33I want to be with you.
08:37And I swear to you, for God's sake, that's not going to change anything.
08:41Let's not swear, Pietro.
08:43It's better if we don't swear because...
08:45an hour ago we were going to swear eternal love and look at us.
08:50How we are.
08:57It would be better if you go to the pantry and see how she is.
09:00I don't want to leave you here alone.
09:01I'm fine. You have to go there and talk to her.
09:04She has a lot to explain to you.
09:06Go.
09:08Go.
09:10I'm fine.
09:25I don't know what to say.
09:26I don't know what to say.
09:31Me neither.
09:57We're almost there.
09:59I'm sorry, we had to take a taxi.
10:02No, for God's sake, Pietro.
10:04I don't want to create another problem, please.
10:06Lucia, please.
10:08We spoke in Spanish.
10:10Now my life is here.
10:12I thought it would be better to find you a pension here, near and during work.
10:17I hope they don't get me in trouble.
10:19No, don't worry, I've paid three days in advance.
10:22No, I don't mean that.
10:23I mean, I don't know, being a single woman,
10:27I'm sure they'll ask me for a signed authorization from my husband.
10:31And I'll write it to you.
10:33No problem.
10:35And during the break, if you need me, I'll come closer to the pension.
10:41Well, I don't know if explaining the situation is a good idea.
10:46Yes, of course.
10:48It would be very complicated to explain it, right?
10:50I don't even know what happened.
10:51Why haven't you explained it to me yet?
10:54And I'll tell you everything, Pietro.
10:57When we have time to talk.
11:00I had a very bad night.
11:02I understand.
11:04Sleeping in a dispensary truck must be a pleasure.
11:08You're angry with me, aren't you?
11:10Angry?
11:13That's not the right word.
11:16But we have to clarify many things.
11:18That woman, Antonia, she's still angry with me.
11:22Do you love her a lot?
11:24Not at the moment, Lucia.
11:26Just tell me how you met her.
11:29She's a classmate.
11:32I understand.
11:34Since when have you been together?
11:36Enough, Lucia.
11:38Too many questions.
11:41Do you think it's normal
11:43for you to come here asking me about me?
11:45That you come here asking me about my girlfriend
11:48while our son Giancarlo is in Italy thinking you're dead.
11:51Don't you think it's normal, Lucia?
11:53Tell me.
11:55Tell me, do you think it's normal?
11:59I've made many mistakes, really.
12:03I'm sorry.
12:08I forgive you, Lucia.
12:11But I want to understand
12:13where you've been all this time.
12:15Where?
12:17And why didn't you write me a letter?
12:19Not a single one.
12:22I've been to jail, Pietro.
12:30Daughter.
12:33Carla.
12:35You're out again?
12:37I know you'd rather I rot in this hole,
12:41but that's not part of my plans.
12:45I'm going out whenever I feel like it.
12:49So don't try to dissuade me.
12:52Do you really think I want to lock you up?
12:55I asked you to hide here
12:57because I couldn't find another alternative.
12:59Unless you wanted to end up in jail.
13:03I don't see much difference between this and jail.
13:07Right?
13:09Carla, sit down.
13:10Sit down.
13:15I understand you need to get out of this basement.
13:19Let's do this.
13:21I'll give you two days off.
13:24That way you'll have the whole house to yourself.
13:37Is that what you want?
13:40Two days off so I can walk around my own house?
13:45I don't understand you.
13:47I promise I don't understand you.
13:49You don't have to swear.
13:51Don't you realize I'm doing all this to protect you?
13:54Don't you realize I haven't asked you for anything?
13:57Look, Carla, I don't want to argue.
14:02I'm here to talk about the company.
14:05Things are very complicated.
14:08Fabio won't go through the ring.
14:10He says he has no intention of bribing the minister.
14:14It must be very hard, right?
14:17With the level of conviction you had
14:20and now you can't fool your client.
14:23Stop being so impertinent.
14:28I'm telling you, that law can't be changed.
14:31And without that, those hotels can't be built.
14:35Do you know what that means, Mother?
14:37The end of the Morkwende Company.
14:40I won't let you lose your fortune.
14:43If we can't change those laws, I don't know what we're going to do.
14:48liquidate the company.
14:52I don't care.
14:54I don't care, liquidate the company.
14:57As if he wants to give the money to the nuns.
14:59You're running out of my patience, Carla.
15:02I don't care either.
15:04You talk to me about patience when I'm the one who's locked up here day and night.
15:08You're insufferable sometimes.
15:14Can I know where you've been this time?
15:19To Íñigo's house.
15:21I've found a way to get from the top of the farm to his terrace.
15:26Have you gone mad?
15:28No, Mother.
15:29You've lost your mind, daughter.
15:30She's the one who's losing her mind.
15:33At this point, she'll think she's seeing ghosts.
15:36And she probably won't be able to sleep.
15:39And just because you're making Matilde nervous, you're willing to end up in jail?
15:43She'll end up locked up in a asylum first.
15:46And nothing will make me happier.
15:57In jail? And why?
15:59When I got to New York, they stole everything I had on me.
16:04In Ellis Island.
16:06Ellis Island?
16:07Yes. It's where you land when you get to New York.
16:11They look at your papers.
16:13They look at you to see if you have epilepsy, tuberculosis, those things.
16:17And at some point, I lost my mind and my suitcase disappeared.
16:22And I arrived in the city without money.
16:25And you didn't go to the Italian consulate?
16:26I did, but it was closed.
16:29The next day, I wanted to go back, but I hadn't eaten for two days.
16:34I was very weak and...
16:37I don't know.
16:39I wanted to try to steal some fruit at a street stall.
16:42And they found you.
16:44The shopkeeper saw me.
16:46He grabbed me.
16:48I tried to take it off, but...
16:51He was a small, old man and...
16:53Okay, the point is that I pushed him and he fell badly.
16:58Don't tell me you killed him.
17:00No, but he hit himself and bled a lot and lost consciousness.
17:07I tried to help him, but the police just arrived.
17:11And they accused me of trying to kill him.
17:14And they put me in jail.
17:16And they locked you up.
17:18Three years.
17:20Three years?
17:21Three years.
17:23Three years for stealing a little fruit?
17:26More than once they thought they would end everything.
17:29Not just me, Pietro.
17:33The first months were terrible.
17:36They treated me like an animal.
17:38I wanted to write them a letter, but they didn't let me.
17:41They didn't let you write a letter?
17:43No.
17:44What kind of people are they?
17:45Because everything costs money there.
17:47Paper, stamps, ink.
17:49And I had nothing.
17:51And if you don't have money, you're nothing there.
17:54A worse animal.
17:56Animals still feed them.
17:59When I found a job in jail and made some money,
18:04I was ashamed to write them.
18:08I had gone to have a better life and now I was just going to be a burden to you.
18:16Shame.
18:18If you only knew how bad it was for our son Giancarlo.
18:23He was so little.
18:24Pico.
18:28I have to go to work.
18:31I should have been inside a while ago.
18:34I'm sorry.
18:36Again, I'm creating problems for you.
18:38It's the only thing I do.
18:40I create problems for everyone.
18:43Go to rest.
18:45The pension is there.
18:46I'll pick you up later.
18:49Will you really come?
18:51Yes.
18:53Can I give you a hug?
18:57Okay.
19:00Do you know how many times I dream of seeing you again?
19:04Of hugging you again.
19:10I'll see you later.
19:11The suitcase.
19:14Bye.
19:16Bye.
19:23What I feel the most is that I didn't dance yesterday.
19:27Because I felt like it.
19:29That's what you feel the most.
19:31But understand me, Miguel.
19:33I'm very sorry about what happened to Antonio and Pietro.
19:36But you're married, you're married.
19:39I'm not saying I'm looking for it, but...
19:41You don't say it, but you've already said it.
19:42Look, I don't know, Miguel.
19:44If all I wish for everyone is the best.
19:46But yesterday I had the dance stuck to my feet.
19:49And I was confused and without dance.
19:51Don't complain.
19:53I've been preparing all the details for days.
19:55And look, I couldn't even dance with Don Fermin.
19:58But what the hell has everyone caught with dancing?
20:01Who can think of dancing seeing the mess these two poor people are in?
20:04They had their lives planned.
20:06And now what?
20:08I'm sorry for Antonio.
20:09But the other one.
20:11As much as he swears and swears that the woman was dead,
20:14what is clear is that he didn't bury her.
20:16Well, let's see, I don't doubt the integrity of Pietro, of the teacher.
20:19Because surely there must be a good explanation for all this.
20:22Yes, I think so too, I think so too.
20:24Life can sometimes be very complicated
20:26and there are things that have a difficult explanation.
20:29I haven't gone through the worker yet.
20:31Well, and it seems that Pietro neither.
20:33Because we have no money for coffee
20:35and three customers have already complained to me.
20:37Don't talk so much, I'm coming with the money.
20:40Good morning, green sleeves.
20:42Do you want me to take them back to the worker?
20:45No, one is for me.
20:47Have you been to the worker?
20:49What did the widower look like?
20:51Esperanza, please, a little bit of sensitivity.
20:53What do you want me to tell you, daughter?
20:55This man has me happy.
20:57You know that at first he didn't want me to go to Madrid,
21:00and in the end he spoils the wedding.
21:02I don't know what happens in La Modena,
21:04but all weddings end in tragedy.
21:06Don't say that, green-sleeves.
21:08Trini and I are already in the chapel.
21:10Well, you can order all the virgins
21:12and all the saints of Santorà.
21:17Didn't you say I talked a lot?
21:19Well, come on, you have to see that Esperanza has it.
21:30What do you think?
21:33Well, Esperanza is right.
21:34We will need a miracle to be able to set up a wedding.
21:37And if we don't manage to set it up,
21:39not a miracle will make us keep our job.
21:46You have shown to have a tremendous presence of mind, Mr. Fermin.
21:50Well, I don't know, Mrs. Lázara.
21:52What I do know is that I'm dead.
21:54Man, natural.
21:56Having to take Pietro and that stranger to the dispensary
21:59while leaving Antonia with a broken heart in the church.
22:03Excuse me.
22:05Yes.
22:07You should have seen Pietro's face.
22:09It was as white as paper.
22:11And poor Antonia, my God.
22:13She had to go home with her heart in her fist.
22:16How understanding you are.
22:18Anyone else would have put Pietro on the street with his legs
22:22because of Bigamo.
22:24Woman, Bigamo, Bigamo has not become.
22:26Thank God.
22:28Although little has been missing.
22:30Anyway, the circumstances are very strange.
22:32I don't think Pietro is to blame for anything.
22:34What I say.
22:36You are the boss that all employees would dream of having.
22:39I say it from the bottom of my heart.
22:41We are very lucky to have you.
22:44Yes?
22:47Oh, I didn't know you were meeting.
22:49No, honey, no, no, come in, come in, don't worry.
22:51But if I bother, I'm leaving.
22:53I've already told you, Inés, don't bother.
22:55Do you know Mrs. Lázara?
22:57Yes, the manager.
22:59We have already met once.
23:00We had not had the opportunity to speak so much pleasure.
23:03Likewise.
23:05All right, honey?
23:07All right, I know I start next week,
23:09but I wanted to take advantage of these days
23:11to find out how the business works.
23:13Very well.
23:15Of course, Mrs. Lázara, I haven't told you anything.
23:17Excuse me, we talked about it yesterday afternoon.
23:19From now on, my niece Inés will be my personal secretary.
23:24Secretary?
23:26Yes.
23:27But, of course, Mr. Fermín,
23:29how had we not thought before
23:31that I needed a secretary?
23:33I suppose because we would not have considered it necessary.
23:36In this way, you are free from my schedule,
23:38from my appointments with suppliers, with clients,
23:41in short, all that.
23:43Well, welcome to La Moderna.
23:45I'm sure you're going to do a great job.
23:47Thank you, I'm very excited.
23:49That's very good.
23:51So from now on, let yourself be led by Mrs. Lázara.
23:53She knows the details of the business
23:54and has an overview of the operation of the salon.
23:58If it weren't for her,
24:00this boat would be small.
24:02Well, I thought that was you, Mr. Fermín.
24:05If you want, I can show you the place well,
24:08and if you have any questions, you just have to ask me.
24:10Of course, I would love to.
24:12Well, if you follow me.
24:21Your uncle has told me that you are a singer.
24:24That he has had an injury to the throat, could it be?
24:27Yes, but I don't know if I can sing again.
24:30Oh, I'm very sorry.
24:32It reminds me of my cousin Manolita.
24:34She also wanted to be a singer,
24:36but she had to leave it because she got married.
24:39Anyway, if you accompany me this way, please.
24:45Antonia, let me serve the coffee.
24:48Sit down and rest.
24:50Many nights you will have had to go through.
24:52Well, Toledana, the truth.
24:54But look,
24:56I don't want to go crying around the corners.
24:58It has been a great disappointment, I will not deny it, but ...
25:02It has not been an irreparable misfortune either.
25:05See?
25:13It's a problem, I'm not going to say no,
25:15because marriage is for life.
25:17And one way or another, Pietro is tied to his wife.
25:21You know what intentions he has.
25:24But hey, all I want to think is that ...
25:27I know how I feel about Pietro.
25:30And ...
25:32I trust him.
25:34Well, that's the most important thing.
25:36Besides, it doesn't make sense that now
25:38that woman comes to recover the life she had with Pietro.
25:41No, right?
25:43But she will want something, right?
25:45To appear like this at the wedding.
25:47Prevent her from disappearing after so long.
25:49What I'm sure of
25:51is that Pietro loves you.
25:52He will see how everything is fixed.
25:55I imagine he will be looking forward to going home.
25:57No, that's another thing.
25:59Until he fixes the carcoma, I can't go back.
26:02Anyway, well.
26:04How are you?
26:06How are your nerves going?
26:08Antonia, I still feel her presence.
26:12Mrs. Carla's?
26:16The other night it was very dark and it was just a moment, but ...
26:20But I saw her.
26:22It was her.
26:24I swear, you have to believe me.
26:26Yes, the nerves are a mystery, darling.
26:29And you have been under a lot of stress for a season.
26:33It is normal for the nerves to resettle.
26:35Yes, that too.
26:37But there are things that are not explained with nerves.
26:39Look, Antonia.
26:41The other day a pendant appeared in the house
26:43identical to the one that Mrs. Carla was wearing.
26:45But it appeared without more?
26:47Yes.
26:49We don't know how it got there.
26:50Iñigo also saw it.
26:52Other things don't.
26:55I only smell the perfume.
26:58What about the perfume?
27:01Last night when I came back from the wedding,
27:03I smelled Mrs. Carla's perfume all over the house.
27:06But darling, how is that going?
27:08I know. I know it's crazy, Antonia.
27:10But someone is entering my house.
27:13And that person either wants to drive me crazy or ...
27:16Or am I going crazy?
27:18No.
27:20No.
27:26Good morning.
27:28Hello.
27:30Sorry to introduce myself like this.
27:32I thought if I called before, you wouldn't want to see me.
27:35Well, you got it right.
27:37I don't want to see you.
27:39I don't want to see anyone.
27:41I have a lot of problems and no one to help me with them.
27:45I'm really sorry I can't help you.
27:48Mati and I have wanted to help me, if you can.
27:51What happens is that you don't want to.
27:53Hasn't he supported you in everything so far?
27:55Yes.
27:57He has been a real support in a lot of insignificant situations.
28:02But when I really needed you, you broke down.
28:06But let's stop arguing about that again.
28:10I've crossed the line.
28:11I've crossed the line.
28:15I've decided that we're going to liquidate the Morcuende company.
28:21Liquidate the company?
28:23Yes.
28:26As I see it, the world of the company is like a casino.
28:30There are times to risk and times to reap the profits.
28:34The Morcuende company has made a lot of winning moves.
28:38It's time to charge.
28:39I don't want to be impertinent,
28:41but the analogy with a casino is not very precise.
28:44Everyone says that this government plans to raise taxes.
28:49If the Morcuende company is still loaded with properties,
28:52tied to loans and contracts,
28:54this gang of politicians
28:57could reduce their value by half in a matter of days.
29:00I don't want my daughter's legacy to fade like this overnight.
29:04I can understand that you want to get rid of the most risky assets.
29:08Or that you give up long-term projects, but sell everything.
29:12Why not?
29:14Is it also illegal?
29:16Don't your sacred principles allow you to sell a company?
29:20No, of course not.
29:22But when you entrusted me with managing the company,
29:25you didn't say anything about selling.
29:27Because I still had a certain confidence
29:30in getting the hotel business going.
29:32Are you going to help me or not?
29:34Yes, whatever you say.
29:35But I don't think it's the right move.
29:38Well, you limit yourself to studying the operation
29:40and putting a price on everything that can be sold.
29:42Okay, I'll get to it this afternoon.
29:46Before that, what do you think if we go out to eat together?
29:51I don't think you can have time.
29:53Have you realized how complex this operation is?
29:56You'll want to get to it as soon as possible.
30:05Let's go.
30:22Hello.
30:26You are the deceased woman.
30:28Well, the one who was your wife before.
30:31Although, well, she still is, right?
30:33But she is no longer deceased.
30:35Well, she was never deceased either, of course.
30:38Oh, what a mess.
30:40What's your name?
30:42Lucia.
30:44I'm Esperanza, the godmother.
30:46Nice to meet you.
30:48I'm looking for Pietro. Do you know where he is?
30:51Yes, he's working.
30:53But I already told you that he doesn't like to be interrupted.
30:56He has a very important and very delicate job.
30:59Well, he works in the lab, right?
31:01Of course.
31:03He's an explorer and the heart of the modern world.
31:06And I already told you that he doesn't like to be distracted.
31:10Anyway, it's only two minutes.
31:13Two minutes?
31:15With a minute that goes out of the oven,
31:17twenty people can be left without food.
31:19Lucia.
31:21Pietro.
31:25But nothing, I don't want to bother you too much.
31:28What's wrong? Do you need something?
31:30No, no.
31:31Esperanza, do you mind if I leave you alone for a moment?
31:36Sure?
31:38Sure, sure, thank you.
31:40Sorry, this woman has already told me that I can't steal you for two minutes,
31:44but I wanted to give you back ...
31:46And what is this?
31:48What you have paid for the pension in advance.
31:51Explain yourself well.
31:53Do you have money?
31:55Can you arrange it for yourself?
31:57Well, the truth is that I don't know.
31:59Okay, then keep this, please.
32:02Are you coming with me?
32:04But is there time?
32:06No, but sit down for a moment.
32:11May I know, do you have debts?
32:14No, no, no debts.
32:16But I don't have money either.
32:18It's just that when I got out of jail, I didn't have a penny,
32:22and I didn't know where to go.
32:24And going back to Italy was unthinkable.
32:26And how did you do it?
32:28How did you manage?
32:30In jail, I made friends with a woman from Puerto Rico.
32:34She taught me to speak Spanish,
32:36and when I got out of jail, I found a job in her brother's business.
32:41Spanisharle.
32:43What is it?
32:45A neighborhood in New York.
32:47Many Puerto Ricans live there.
32:49And thanks to this job, I managed to save a little more.
32:54And little by little I was getting ahead,
32:57although I couldn't stop thinking about you.
33:02Excuse me, Pietro, could I have a glass of water?
33:06Yes, wait a moment.
33:08Wait.
33:18This morning I sold a German gramophone.
33:20And now I have to prepare an order for a man who has ordered some jazz records.
33:25That's great. Well, if you want, I'll help you.
33:29Why don't you check the cultural programming that we have to deliver to your uncle?
33:34And remember that today we close before.
33:36We have the talk with those from high school.
33:38I'm nervous.
33:40Do you think they're going to tell us something?
33:42It's just that sometimes political issues raise a lot of doubts.
33:44I already know that universal suffrage is not a matter of politics,
33:47but of fundamental rights.
33:48Sometimes people pretend they don't see it.
33:51You know what? What's worse for them?
33:53Because we have won this fight.
33:55Now that the constitutional courts have been formed,
33:57there is no excuse not to reform the law.
33:59You're absolutely right.
34:01Well, I'm going to prepare the order.
34:11Good afternoon.
34:13Good afternoon. Do you need anything?
34:15What a nice store you have.
34:17You're doing well in the business, aren't you?
34:20Yes, we can't complain.
34:23Have you come looking for something?
34:26Yes, I've come to buy a gramophone.
34:31I've been told that German models are very good, right?
34:35Yes, they're the best we have.
34:38Do you want me to show them to you?
34:40Please.
34:42Okay.
34:43Look, this one is made in Berlin,
34:46and it has a lifetime warranty.
34:49In the end, it looked like we were leaving a funeral,
34:52rather than a wedding.
34:55Hey, do you know that your father is proud of you?
34:59My father? What are you talking about?
35:02Yes, yes, he was impressed to see how you had managed
35:05and you had left the bookshop like gold.
35:07One thing is to impress him,
35:09and another very different is that he feels proud.
35:10Look, let's do one thing.
35:13These days, we're going to try to keep the bookstore in white.
35:17When your father comes, he'll see that you've given up.
35:19Let's see if that way he'll start to see you differently.
35:22Do you think that will work?
35:24We'll have to try.
35:26I'm going to get the news. You follow me.
35:41Hi, Marta. How are you?
35:44I'm fine, but I have to go.
35:47Can I go with you if you want?
35:49But you're working, aren't you?
35:51Besides, I was just going to the drugstore
35:53for some bleach and ammonia.
35:55Well, Miguel told me what happened at the church.
35:58I'm very sorry.
36:00I'm sure it must have been very hard.
36:02So, if you need anything, you know where I am.
36:07Thank you.
36:09The truth is that it was a bad drink, yes.
36:11But, well, I appreciate it.
36:14I really have to go now.
36:16Good luck.
36:18Thank you.
36:25Come on, help me.
36:29I think you're right.
36:32I'm going to bend my spine, but well, these days.
36:35I'm going to get my father to see me as a good worker.
36:39I'm glad to hear it, man.
36:42Hey, why did they call you Bonesbreaker?
36:50I don't want to know.
36:56And then we have this one, which is made in Spain.
36:59In this case, it's not made of noble wood,
37:02so it's cheaper.
37:04Well, but in a gramophone, the important thing is not the exterior,
37:07but the mechanics.
37:09And it's very reliable and durable.
37:11Reliable and durable, like a good marriage.
37:13Hey, you didn't come to buy a gramophone, did you?
37:17But don't get mad, your company is so nice.
37:20Thank you very much for the compliment,
37:22but I should be ashamed to waste my time like this.
37:24I'm sorry, really, but if you ever agreed to have lunch with me,
37:28I wouldn't have to resort to these tricks.
37:30Look, I'm having lunch at home, with my family.
37:32Thank you very much.
37:34Well, we could just take a walk around the retreat.
37:37I'm very busy, so if you're not going to buy anything,
37:39please, there's the door.
37:41Well, you know what?
37:43I'm going to buy you something.
37:45A gramophone.
37:47So maybe you'll forgive me for trusting you so much.
37:50Okay, which one do you want?
37:52Because I've shown you four.
37:54I liked the German one a lot, but I don't remember.
37:56Could you show it to me again?
37:58Hey, please.
38:00It's a joke, don't get mad.
38:02The national one, reliable and durable.
38:04Well, I'm going to prepare your gramophone.
38:07Thank you.
38:15In the end, they've got me in their networks.
38:19I'm going to buy them a gramophone.
38:22Very good.
38:24In a modern house, you can't miss a good gramophone.
38:26And a good radio set.
38:28I need your help, please.
38:30Laurita doesn't even want to have lunch with me.
38:32Give me a hand, woman.
38:34If the gramophone breaks, let me know and I'll help you.
38:36I have to think about the rest.
38:38But I can't be buying a gramophone every day
38:40to break the ice.
38:42I'm going to ruin myself.
38:44You tell me.
38:51Oh, how delicious!
38:54Well, honey.
38:56Say hello to the next manager of the bookstores,
38:59La Goleta de las Letras.
39:01So soon? I've already made you manager.
39:03Well, no, no, no.
39:05Not yet.
39:07But soon, very soon.
39:09Don Salvador told me that if he had his son straightened,
39:11he would appoint me manager.
39:13Well, I have Salvita almost straightened.
39:15I had my hopes up.
39:17I thought there would finally be good news in this house.
39:19Cheer up.
39:21There are good prospects.
39:23Yes.
39:25I'm not going to cheer up until we solve the wedding.
39:27Ah, for that I also have a solution.
39:29It is clear that to fake a wedding
39:30we need a priest and a church.
39:32Yeah, but it's hard for a priest to lend himself to that.
39:35Not a priest.
39:37But a sacristan, yes.
39:39My friend Aureliano is a sacristan in Camporreal.
39:41I don't know how he hadn't fallen before.
39:43It's not a church.
39:45It's more like a hermitage, but for the case it doesn't matter.
39:47I'll write to him and you'll see how he helps us organize it.
39:49Aureliano, the one who had been a monk?
39:51Yes, that one.
39:53We've been friends since we were little.
39:55Aureliano the bulb.
39:57Well, woman, don't call him that.
39:58No, I don't call him that.
40:00You call him that because he doesn't have many lights.
40:02Yes, well, it's not Monica Hall, but...
40:04Honey, we invited him to our wedding
40:06and he didn't come because he was wrong about the church.
40:08He was wrong.
40:10He came to San Marcos, as we told him.
40:12Yes, of course, because our wedding was in San Marcos, in Madrid.
40:14But he went to San Marcos in Segovia.
40:16Do you really want to entrust this matter to that man?
40:19No, no, no, forget it.
40:21I don't want anything to do with the bulb.
40:23Go preparing the table.
40:25I'm going, I'm going.
40:29Teresa, please check with the dependents
40:32the boxes and the gift wrapping paper
40:34to be able to make the order.
40:36Very well, right now.
40:38Phenomenal, wonderful.
40:40Mrs. Lázara, can I have a moment, please?
40:42Naturally, yes.
40:47Look, I wanted to thank you
40:49for the welcome my niece has given you.
40:52There's nothing to thank for, Mr. Fermin.
40:54Your niece is a very valid girl
40:55and very willing.
40:57You see, she starts next week at work
40:59and today she has shown up in my office
41:01to organize my schedule.
41:03And what surprises her so much?
41:05That she's so hardworking?
41:07Because she's going to excuse me,
41:09but she's good at it.
41:11And her other niece, the same.
41:13They're like little ants.
41:15It seems they want to emulate her uncle.
41:17Yes, the truth is that they are two gems.
41:19They have had their setbacks,
41:21but they have overcome them.
41:23Excuse me, yes?
41:25Can I have two more, please?
41:27Look.
41:29Look how he gets up.
41:31Do you think he gets up a lot?
41:33Man, but he's practically hugging her.
41:36I don't know, I don't get that feeling.
41:38And don't look at them so closely
41:40that they'll notice.
41:42Let's see, Cañete, it's very clear.
41:44As you say.
41:46But Teresa, please,
41:48you have to be careful.
41:50Do you know what I'm telling you?
41:52I'm going to investigate my wife.
41:54Investigate?
41:56What do you mean by investigate?
41:58Well, we don't know anything about her.
42:00I thought I could try to get her address.
42:02Her address?
42:04But what do you intend?
42:06Are you going to sneak into her house
42:08as if you were a detective?
42:10Well, no, what I intend is to locate her,
42:12to have some more information about her.
42:14And no, I'm not going to enter her house.
42:16Of course, what I'm going to do
42:18is simply watch her.
42:20Ah, just watch her.
42:22I don't want to get her address.
42:24Well, it'll be in her work schedule
42:26or in her contract.
42:28I just have to go to Doug Farbin's office,
42:30look at it, and that's it.
42:32Well.
42:34Here, the return of the table.
42:36Yes, I'm convinced.
42:38If you have a moment, let's go to the office.
42:40Yes, of course.
42:41I'm going to beat the eggs.
42:43No, let's wait for Pietro.
42:48Well, yes, yes.
42:50Go beating them,
42:52because maybe he won't come to dinner.
42:54He'll have dinner with the other one at his house.
42:56Don't say that.
42:58It's true, the other one is me.
43:00She's his legitimate wife.
43:02I'm the one who's left over here.
43:04I'm the one who's left over here.
43:06I'm the one who's left over here.
43:08I'm the one who's left over here.
43:09I'm the one who's left over here.
43:11Antonia, that's not true.
43:13Pietro is not like that.
43:15No, Pietro is not like that.
43:17But we don't know what she's like.
43:19If that woman gets her way,
43:21she claims what's hers,
43:23and you tell me if I'm left over or not.
43:25Let's see if she doesn't want to take him to Italy.
43:27But there's no divorce in Italy.
43:29What are you going to see?
43:31Those are the Protestants.
43:33In Italy they are Catholic like us.
43:35And more, they have the Pope there.
43:37I don't know.
43:39Here, maybe. Not in Italy.
43:43That's enough.
44:00Hi.
44:04Come in.
44:09Hi, Pietro.
44:11Hi, Marta.
44:13I was making dinner. Potato omelette.
44:17Well, Antonia, I'm going to pick up the clothes.
44:20Excuse me.
44:30How are you?
44:32Fine, fine.
44:35Have you been able to talk?
44:37Yes.
44:39I've been thinking.
44:43I thought it was...
44:45It was the right thing to do.
44:49The woman doesn't know Madrid, Antonia.
44:52She's got one hand in front and one behind,
44:54and I didn't know what to do.
44:58I hope you don't mind.
45:04All I want to know is what's going to happen to us, Pietro.
45:07And what intentions does that woman have?
45:20You're making a fool of yourself.
45:24Let's see how you've done it now.
45:26Let's see. It's very easy.
45:37I've been watching you to find the best time to talk to you.
45:40But it was impossible. You were always with me.
45:43In any case, I've already hurt you too much.
45:46I didn't want to leave without telling you that I love you.
46:07Agustín, what are you doing here?
46:10Can I come in?
46:11Yes, of course. Come in, come in.
46:18Look, would you like something to drink?
46:20No, don't bother. I don't think I'll be long,
46:23because I suspect you're going to end up throwing boxes at me.
46:27But why do you say that?
46:29Because I've told myself, actively and passively,
46:31that I don't count on you for the pharaoh's court.
46:33But if I don't try for the last time, I'm never going to forgive myself.
46:36Why don't you come to a couple of rehearsals?
46:38Without commitment.
46:39Then, if you don't feel up to it, I promise I won't insist on it anymore.
46:42But at least try.
46:44Agustín, I can't go to rehearsals if I have to quit later.
46:48I'd rather skip the page as soon as possible.
46:57May I ask what you're doing here?
46:59Hello. Well, I was trying to convince your sister...
47:03Look, I've already told you that I'm not going to have a snack with you.
47:06Do I have the right to come to my house and insist?
47:10Look, I'm sorry to have interrupted you,
47:13but I promise I didn't come to insist.
47:15No, of course not. It was a coincidence.
47:17Laurita, Agustín has come to convince me
47:19to sing at the pharaoh's court.
47:21And how many times have you told him no?
47:23One thing is for him to come to the store,
47:25to make him see that I want a gramophone to round me up,
47:27and another thing is for him to come and bother my sister.
47:29Look, I deeply regret that you think about me,
47:31but since I see that it's going to be impossible
47:33to convince you of my true motivations,
47:34the best thing would be for me to leave.
47:36No, the best thing would have been for you not to have come.
47:38Laurita, please.
47:40No, don't worry. I'm leaving.
47:42Good afternoon.
47:44Good afternoon.
47:47Agustín, really, I'm so sorry.
47:49I'm so sorry.
47:51No, really, don't worry about me.
47:53Of course, I promise, I give you my word
47:55that my offer was sincere.
47:57Good afternoon, Inés.
47:58Good afternoon.
48:04Lucia got out of jail
48:06and got a job at the Spanish Harlem,
48:08which is where the Puerto Ricans live in New York.
48:11And after getting a job,
48:13didn't she think about sending a letter
48:15to her husband and son?
48:17She says she didn't want to give signs of life
48:19until she had raised some money,
48:22because she didn't want to be another burden for me.
48:25How considerate.
48:28And after a lot of work and a lot of savings,
48:31she bought a ticket back to Italy.
48:35She was in Italy?
48:37Yes.
48:39She says she found the house empty,
48:43that Giancarlo had already left with his girlfriend to the village.
48:47And she didn't think of going to the village to look for Giancarlo
48:50after being in Italy?
48:52I can't believe it.
48:54It seems she didn't dare.
48:56So she shows up here,
48:58without warning,
49:00without sending a letter, without calling,
49:02precisely on the day of our wedding.
49:05Well, look, that's one thing,
49:07but the gift of opportunity does exist.
49:14I'm sorry.
49:16Forgive me.
49:21It's just that I'm left
49:22without a husband and without a home on the same day.
49:27Forgive me, Antonio.
49:30Forgive me a lot.
49:34I'm sorry about what's happening.
49:43The only thing that matters to me is you.
49:52But she's Giancarlo's mother, I can't...
49:58I don't understand this.
50:00I really understand that you have a responsibility to her and Giancarlo.
50:07But what about us?
50:10Look at me.
50:14What will happen to us?
50:17And what does that woman want from you?
50:22I don't know.
50:28I'm sorry, Antonia, but I don't know.
50:31I swear I don't know.
50:48Matilde.
50:52Matilde.
50:58Matilde.
51:00Assessor.
51:09Tu, tu, tu, ves, ves, ves, ves, ves.
51:19My love.
51:20It's me.
51:22Don't worry, I've only been to the restaurant for dinner.
51:25Did you think I wasn't coming back?
51:27Let me put this on the table.
51:31You have to help me.
51:33I don't know what's wrong with me.
51:36What don't you know?
51:38Let me.
51:40Come in, please.
51:47My love.
51:49My love, what's wrong?
51:51I heard her.
51:55I heard Carla.
51:57It's as if she were in this house.
52:00But my love, did you hear her?
52:01Right now?
52:02Yes.
52:03She was whispering to me.
52:04She was very close.
52:07My love, I can't take it anymore.
52:09I can't take it anymore.
52:11I can't take it anymore.
52:12Calm down.
52:13Calm down.
52:15Calm down.
52:16Calm down.
52:20Calm down.
52:25Mr. Fermin, I need your help.
52:27I will help you in everything that is in my hands.
52:29Tell me.
52:30Well, the situation has worsened, Mr. Fermin.
52:32Maybe it's time to ask for the opinion of an expert.
52:35Here is the phone number and the address of Dr. Mendoza.
52:39He is an eminent psychiatrist.
52:40I think he is the right person to treat Matilde.
52:43He showed up here yesterday.
52:45He sat right there.
52:47That Lucia.
52:48What a face she has.
52:49She hasn't had enough to introduce herself at the wedding,
52:51but she comes here to talk to Pietro.
52:54You will see that you never see the time to be quiet.
52:57I am trying to write the newspaper ad that your father has commissioned me.
53:00The bulletin of the letters.
53:01Look for a new cleaner.
53:03Do we have a cleaner?
53:06And why have you been cleaning all this time?
53:08Part of the learning that has come to you well.
53:10Two men making a decision for me and with Mr. Fermin in the middle.
53:14It's incredible.
53:15No, my love.
53:16Nobody wants to make a decision for you.
53:17You are the one who decides.
53:19Dr. Mendoza will not come to this house if you don't want to.
53:23So tell me.
53:25Do you want to talk about what happens to you with a specialist?
53:27That ad, Miguel, you can save it.
53:30I will take care of finding the new cleaner.
53:34Don't worry.
53:36Because that woman has not come to take away Pietro.
53:38Why has she come?
53:39To get something out of him.
53:40I've seen her face taking advantage of him.
53:42I need you to open an account listed in Switzerland.
53:45And that you send there all the funds you can.
53:47Anyone who has the codes can access it.
53:49Without having to do anything else.
53:50Nor give your name or anything.
53:53I know the risks involved.
53:55And yet I want to do it.
53:57In fact, that woman never left Pietro.
53:59When she went to America, she did it in accordance with him.
54:02If by the looks of it, they loved each other very much.
54:04I have the feeling that you are hiding something from me.
54:07This is the truth, right?
54:09How about Inés?
54:11Good.
54:12Good, good, very good. It's lovely.
54:14Don't you think you're wrong about her?
54:17If all my colleagues, with whom I have worked side by side, think the same, it will be for something.
54:21Well, it seems very unfair to me.
54:23Because she has done nothing to me and neither to you.
54:25And we should precisely give her a chance.
54:29Why us precisely?
54:32Because the guy trusts her a lot and gets along very well.
54:34And you know that the guy would not look at anyone.
54:37So stop calling her a vampire.
54:39It's not like one day you'll have to call her aunt.
54:42Look, in the bookstore we need a cleaning lady for hours, several days a week.
54:46I have the responsibility of looking for her.
54:48And I thought that maybe you might be interested.
54:52Pietro?
54:55He's not here.
54:57What are you doing here?
54:59We had a deal, right?
55:01Yes, I hope you don't mind.
55:03I just wanted to see where you lived.
55:05If there's something that makes me really happy right now, it's going crazy, Matilde.
55:10You always have that girl in your mouth, my daughter.
55:13I'm looking forward to the night to hit her again.
55:16Trust me, there's no danger.
55:18There's no danger, you say?
55:20Teresa, I don't recognize you.
55:22Where are you? They're firing us.
55:24Let's see, here are the workers' contracts.
55:27Well, I look for Mrs. Lázara's, I look at the information we're looking for, I leave it again.
55:31And nothing happens here.
55:35You