Salón de té La Moderna - Ep 211
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00:00A few hours later...
00:10Thank you anyway.
00:12Yes.
00:13Goodbye.
00:20You didn't sleep, did you?
00:22There was no way.
00:24I was too worried about what the doctor said,
00:27that Virgida doesn't exist and that everything was made up.
00:31And what I just heard doesn't relieve me either.
00:34Who were you talking to?
00:36It seemed to me that the nurse had also seen her.
00:39And I wanted to check it with her, but she told me she had never seen her.
00:43Batilde and Carla's were hallucinations.
00:45Virgida's could also have been.
00:47And that doesn't mean you're worse off, just that you're...
00:50affected.
00:52Say it clearly.
00:54Do you think I'm crazy?
00:55No.
00:56I've heard you move around at night.
00:58You can't sleep either because you think your wife...
01:00Batilde.
01:02We're going to fix it.
01:04Yes, we're going to do it. Yes.
01:07Because Virgida's are not hallucinations.
01:09And someone else has had to see her.
01:12I'm going to seem very daring.
01:15Could I ask you why you're in this consultation?
01:21Excuse me, I'm sorry.
01:23It's just that sometimes I don't realize how clumsy I am in asking questions.
01:27It's just that I didn't expect it.
01:30Yes, I know what's going on.
01:32And you don't have to answer me.
01:34Whatever the reason you're here,
01:37you'll overcome it.
01:40Just like I overcame mine on your day.
01:43I hope so.
01:45I didn't know you had an appointment.
01:47No, I didn't have an appointment.
01:49In fact, my husband fixed it for me at the last minute.
01:52I just got out of seeing the doctor.
01:55The voices have returned.
01:57The voices?
01:59Yes.
02:01I hear voices.
02:03I mean, they're hallucinations, of course.
02:05Well, now I know they're hallucinations.
02:07But not a year ago.
02:09And there came a time when they were part of my life.
02:13I don't know, they were real.
02:16It's hard to explain.
02:19Does something similar happen to you?
02:24Yes, well, in my case it's different.
02:27Because I can't imagine things.
02:29Real things are happening to me.
02:31Of course, that's what happens to us.
02:33What happens to us seems real.
02:40My love, I...
02:43I'm very grateful that you trust me.
02:46But I don't know what's true and what's a lie anymore.
02:49And I can't ask you to keep believing in me
02:51when I'm the first one to doubt everything I see.
02:59Look, I know it's very difficult for you, Matilde,
03:01but I think you should consider going to a sanatorium.
03:05Maybe the doctors could help you.
03:09But really,
03:11I don't want you to make the decision against your will.
03:16I'm sorry.
03:23It's okay.
03:27I'll go in.
03:29I'm very sorry that we're in this situation.
03:32I know how much you're suffering, really.
03:35But there's no other solution, Matilde.
03:41I'll go in as soon as Clarita comes.
03:44I'll talk to her and...
03:46I'll talk to her about everything that's happening to me.
03:49Because you understand that I have to explain it to her, right?
03:51Of course.
03:53It's a good idea, of course.
03:55Yes.
03:56I was going to come tomorrow,
03:58but I have to talk to my aunt Concha about something.
04:04I hope I'll be better when I get out.
04:08But I'm very scared.
04:12I'm very scared.
04:15Don't worry, love.
04:22The truth is that it was beautiful.
04:24Good, but there were more details.
04:27Well, he bothered to come
04:30to bring the pharaoh's court recordings
04:33and the magic lantern.
04:37But I guess that won't be the beautiful part.
04:40That's the beautiful part.
04:42The beautiful part is that we kissed
04:45and we were listening to the rain, hugging each other.
04:49But I thought Agustín wasn't that romantic.
04:54No?
04:55Maybe I shouldn't be telling you this.
04:59But why, Laurita?
05:01Because what happened with César is very recent
05:04and I don't want you to be sad.
05:06Laurita, please.
05:08I love seeing you happy.
05:10You deserve someone who treats you well.
05:13Tell me more.
05:15Well, there's not much more to tell.
05:19After that, he left
05:21and we didn't talk much about things.
05:25It wasn't necessary.
05:26I don't know what our relationship will be like from now on,
05:29but it's not necessary to give it a name or run away.
05:34Especially after the bad luck I've always had.
05:37Well, not all men are like Collado and Celso.
05:41You were very unlucky with those two unscrupulous guys.
05:46I told myself I wouldn't get my hopes up with a name,
05:50but it would be silly to let this opportunity slip away with Agustín.
05:54Of course.
05:55It had to be the good one sometime.
05:57And I hope it is.
05:59I hope so.
06:00The truth is that I'm very excited.
06:03So much so that I can hardly focus on the jokes the guy sent me.
06:07I have to turn them in today. I don't know if they're good, bad, regular.
06:11Do you want me to read you one?
06:13Of course.
06:18The modern fabric salon is quality and elegance.
06:21Discover it by giving us a gift with your stay.
06:26I love it.
06:29Are you going to design it?
06:30Yes.
06:43Honey, you have to be brave.
06:46When you get in there, think it's going to be for a short period of time
06:49that we do all this so that you get better and stop suffering.
06:55And it's clear that I'm not the only one suffering.
06:58You're suffering too, and my heart is breaking.
07:03I want this situation to end as soon as possible, Iñigo.
07:06But we don't know when it's going to happen.
07:09And how I'm going to evolve.
07:11Or if being locked up is going to negatively affect me.
07:13We don't know anything.
07:14Honey, don't worry about that.
07:17Because I'm not going to leave you in that place for as long as it takes.
07:21Believe me, please. Trust me.
07:25But how can I not trust you with everything you love and take care of me?
07:31I love you.
07:33And I love you.
07:35More than anything.
07:51Well, I have to go shopping. I'll be right back.
07:53I'll be right back.
08:03In distant Japan, this technique is called origami.
08:06And the origami in the shape of a crane
08:08is given to wish for health and a quick recovery.
08:13Eat it, it's a gift.
08:24Yes?
08:26Jerez conference, yes, put it on for me, please.
08:31Aunt, how are you? How are you?
08:34Yes, I'm fine, I'm fine.
08:37Vera, I need...
08:41I need to go back in time.
08:43I need to go back in time.
08:45I need to go back in time.
08:47I need to go back in time.
08:49I need to go back in time.
08:50I need...
08:52I need to delay Clarita's trip by 48 hours.
08:56Yes.
08:58Yes, I know.
09:00Yes, but...
09:02Some pipes have broken and we're out of water.
09:06Exactly, and I don't know when they'll come to fix them.
09:09But I think that if Clarita comes in a couple of days,
09:12everything will be resolved.
09:14Yes.
09:16Yes, if they take longer, I'll let you know.
09:18Very good.
09:20Very good, aunt, don't worry.
09:22Goodbye.
09:23Goodbye.
09:47I don't know how to get that man out of his head.
09:49This is because he catches you by surprise
09:52how heavy he can be.
09:54At least we were able to leave quickly
09:56so we didn't have to decide about the church right away.
09:58Yes, now we'll have to think about what to tell him.
10:01But well, hell is made of good intentions.
10:06My goodness, that's what they say and it's true.
10:08I don't know how many times or how many ways
10:10we'll have to tell him so he understands
10:12that we don't want to get married there.
10:14Well, if we've done it once, we'll do it again.
10:16We'll tell him clearly so he understands
10:17and with a lot of love so he doesn't bother him.
10:20Look at him.
10:25What's up, partner?
10:29Don't ask me why I look like I just bit a lemon.
10:33Well, I'm very worried, very worried.
10:35Let's see if they're going to kick me out.
10:37Unfortunately, that would be it.
10:39The problem is that he'll be back in three days
10:41and I don't know how the bosses are going to take it
10:43that he went to his grandfather's birthday
10:45just like that, without asking for permission.
10:47Well, let's hope nothing happens.
10:49It would be very sad if he didn't come here.
10:51I don't think that's going to happen
10:53because Cañete is someone very appreciated here
10:55and he does a lot of hard work.
10:57And besides, he's a reference for everyone.
10:59It's true that the vampire has an eye for him.
11:04Well, and you, little turtles,
11:06did you like the church I got?
11:09It's wonderful, isn't it?
11:12Of course, you ask for it,
11:14Elías arrives and organizes everything.
11:15Let's see, the church is not bad.
11:19It's fine, it's fine,
11:21but maybe it's not what we thought.
11:25Yes, yes, it's not what we had in mind, precisely.
11:29Maybe a church is not what we need.
11:31No.
11:33But do you want to get married or not?
11:35Because time flies
11:37and I see you here worried
11:39and saying no to everything.
11:41It's because of the size of the church.
11:43Because, of course, we have very few guests.
11:45The church is so big
11:47that with so few guests,
11:49the ceremony will be disheveled.
11:51Yes, it's the size.
11:53We only need four benches
11:55and the church has 12.
11:57And very little light
11:59because we want the photographer
12:01to get something more than a couple of blurs.
12:03Well, and the cold.
12:05The old stone gives you a cold that kills you.
12:08It's very cold, Negatrinix.
12:10You have to see how negative you are,
12:12but don't worry,
12:13you're not going to realize it.
12:15You're going to walk on algae.
12:17Euphoria will guide you, everything else is details.
12:19Yes, precisely because it will be
12:21the most important day of our lives,
12:23everything has to be perfect.
12:25But let's see.
12:27One moment, huh?
12:29I'm very quick-witted
12:31and all this is sounding like excuses to me.
12:33Because you should be desperate to find a temple.
12:35Let's see, what are you hiding from me?
12:37No.
12:39Oh, but don't worry,
12:41nothing happens.
12:43If I have it, I don't even listen to myself.
12:45I'm going to regret this.
12:47But why?
12:49Thank you, Miguel, for asking.
12:51Let's see, it's something that comes from afar.
12:53When I said, for the first time,
12:55of the nerves, my pants fell off.
12:57But nothing happens,
12:59because when you enter, nothing happens.
13:01It seems that the Most High
13:03takes the anxiety away from you.
13:05Anyway, Elias, thank you very much.
13:07You're always here, you're a friend.
13:09To find you a temple.
13:11Don't worry, man,
13:13but nothing, what you have to do is
13:15talk to the priest,
13:17prepare the documentation,
13:19you have to see that bad luck,
13:21that yesterday you were not in the parish,
13:23but nothing happens because I accompany you
13:25and tomorrow we talk to him.
13:27Yes, but what Trini ...
13:29Leave me, leave me.
13:31The thanks, I already give them to you, Miguel.
13:33Nothing, I'm in a hurry.
13:35Abur!
13:43Good morning, Fabio.
13:51Are you going to keep looking at me like that, always?
13:55I'm sorry, but I'm working.
13:57I gave you my word that I was going to manage
14:00the liquidation of certain assets
14:02of the company in Morcuende
14:04and that is precisely what I am doing.
14:06And I thank you.
14:08That's what distinguishes us.
14:10I go head-on
14:11and if I say I'm going to do something,
14:13I'm faithful to my word.
14:15Fabio,
14:17my help is because you want to help me.
14:19They can deny you perfectly.
14:21You know I'm not going to let
14:23my daughter rot in jail.
14:25That would be half the problem.
14:27If they find out that Carla
14:29has been hiding in the basement
14:31and that her death was a farce,
14:33I'm sorry, but
14:35you would go to prison with her.
14:37If you had children,
14:39you would understand it better.
14:41She may have gone crazy
14:43to protect her,
14:45but I would do it again,
14:47a hundred times.
14:49Very understandable.
14:51I wouldn't use that argument
14:53in front of a judge, but...
14:56I'm not doing it in front of a judge.
14:59I'm doing it in front of you.
15:01You are more than my partner.
15:04You are more than my friend.
15:07And if it's going to make you feel better,
15:08I'm sorry.
15:13It hurt me a lot to lie to you, Fabio,
15:16but I couldn't find another way
15:18to get Carla out of the problem.
15:20I couldn't find another remedy.
15:22And you want me to thank you
15:24for helping me.
15:27If they had found out,
15:29it would have been better for you
15:31not to know anything.
15:33In the end, you found out.
15:35But I also wanted to protect you
15:36from all this mess.
15:38You said it.
15:40In the end,
15:42it seems that making me pray
15:44for your daughter's immortal soul
15:46will be an act of love
15:48and not a betrayal.
15:50And not just for me,
15:52but also for that poor couple
15:54to whom you have decided
15:56to disgrace their lives.
15:58I hope you don't continue
16:00with the idea of wanting to betray us.
16:02What you have done is very serious.
16:04Very serious, Barbara.
16:06Let's get out of here.
16:08Fabio,
16:10for the friendship that unites us,
16:12help me.
16:14You owe me.
16:16Barbara,
16:18if you ask me to do that,
16:20there will no longer be any feeling
16:22that unites us.
16:24Are you sure you want to spend
16:26so much affection,
16:28so much complicity
16:30all these years like this,
16:32that way?
16:34It would hurt me a lot
16:36to keep my daughter out of jail.
16:38I would pay for it.
16:42I have a question.
16:44Your feelings for me
16:46were also fake?
16:48Of course not.
16:50But this situation has come
16:52and it has taken us ahead.
17:01Will you help me?
17:07No.
17:12I can give you what you ask me,
17:16but I will need an additional guarantee.
17:27Oh, Teresa,
17:29I wanted to tell you something.
17:31Of course, Esperanza, tell me.
17:33Well,
17:34you see,
17:37I'm not very fond of anyone,
17:40but I would be very sorry
17:42if they fired Cañete, really.
17:44Yeah, me too, of course.
17:46But that decision
17:48does not depend on me,
17:50but on Doña Lázara
17:52and, ultimately, on Don Fermín.
17:54There is no right.
17:56Well, let's see how the vampire behaves.
17:58Be careful, Esperanza,
18:00with calling the vampire all the time
18:02that he is going to escape from a client
18:05By the way, changing the subject,
18:07how is Marta doing
18:09in her new obligations?
18:11Well, fine,
18:13but she still has a lot to learn.
18:15From me, of course.
18:17It is said that Rome was not built in a day, right?
18:19Well, that.
18:21But come on, don't worry,
18:23she's on the right track.
18:25Another thing I wanted to ask you.
18:27Yes.
18:29Are there going to be more conventions
18:31like the one with the pharmacists?
18:32I don't know,
18:34because these decisions are
18:36of Don Fermín and Doña Lázara,
18:38but from what I've heard,
18:40at the moment there will be no more
18:42until it is known
18:44if Matilde can take charge or not.
18:46What a shame, for God's sake.
18:48I think they're going to put her in a sanatorium.
18:50What do you mean, in a sanatorium?
18:52Oh, poor thing.
18:54She doesn't deserve it.
18:56With everything that has happened
18:58and everything she has suffered,
19:00and now this.
19:02I'm sorry for her.
19:04Esperanza,
19:06touch up the windows on the street, please.
19:08Yes, Doña Lázara.
19:10There would be more missing, Doña Lázara.
19:12At your feet, Doña Lázara.
19:14At your orders, Doña Lázara.
19:17Well, Teresa,
19:19I would like to know
19:21if you have had the opportunity to think
19:23about the offer I made you yesterday
19:25about the olive branch I sold you.
19:27That is,
19:29if you don't get in where they don't call you,
19:30you won't get in.
19:32Yes,
19:34yes, I've been thinking about your offer.
19:37And I think
19:39distrusting you
19:41is not good for either of us,
19:43nor for the salon.
19:45So I accept your offer
19:47and I'm going to put everything on my side.
19:49I want to hear you say it.
19:53I will stop investigating your affairs,
19:55Doña Lázara.
19:56I will stop investigating your affairs,
19:58Doña Lázara.
20:01Very well.
20:11I have spoken to Matilde
20:13and she has decided to come in.
20:15But the time after
20:17your sister Clarita arrives.
20:19I understand.
20:21And do you allow it?
20:23It's just that I don't have to
20:24allow anything to her.
20:26She is an adult woman.
20:28Yes, but she is not an adult
20:30to whom her actions can be rejected.
20:32Doctor, Matilde wants to explain
20:34to Clarita personally
20:36the reasons why she has to
20:38enter a sanatorium,
20:40so that the girl is clear.
20:42I understand that Matilde has made that request,
20:44but I don't know if it's best
20:46when Clarita arrives.
20:48The day after tomorrow.
20:50I don't think it's enough reason
20:52to delay the entrance.
20:54It's been a couple of days.
20:56I can't deny that.
20:58Look, until recently
21:00your wife has been talking
21:02to a non-existent friend
21:04and I hope you don't ignore that
21:06because it wouldn't do her any favor.
21:08Look, I think that Matilde
21:10is becoming more and more aware
21:12and that she needs help,
21:14but I don't think it's necessary
21:16to pressure her.
21:18Maybe she is being too permissive
21:20with her wife.
21:22Every day she delays
21:24the entrance.
21:26I married that woman
21:28to be in the good and the bad
21:30and to put myself in her place.
21:32And you know better than anyone
21:34that entering a sanatorium is very hard.
21:36Until Matilde doesn't recover,
21:38putting herself in her place
21:40is not something she can do happily.
21:42She can't trust what she says.
21:44Her perception of reality is distorted.
21:46I will assume the consequences.
21:48She should trust me more.
21:50She should enter it now.
21:51Please, it seems to be something personal
21:53and we have asked her for a couple of days.
21:55I'm sorry if I have been able
21:57to seem like something obvious.
21:59I happen to get very involved
22:01with my patients
22:03and I can't remedy it.
22:05And I appreciate it,
22:07but to wait a couple more days
22:09nothing will happen to her.
22:11I hope you don't have to regret it.
22:13It may be too late by then.
22:22Marta.
22:24Matilde, are you better?
22:26I need to talk to you.
22:28Of course, tell me.
22:30Can you go outside?
22:32Yes.
22:34There's something that's bothering me.
22:36It has to do with what happened last week
22:38at Dr. Mendoza's consultation.
22:40He's the psychiatrist who's treating me.
22:42What's wrong?
22:44I don't know.
22:46I don't know what to do.
22:48I don't know what to do.
22:49He's the psychiatrist who's treating me.
22:51Tell me.
22:54I met a girl
22:56called Brigida.
22:58She was there too.
23:00She was in the waiting room
23:02and she was in the same situation as me
23:04and we became friends.
23:06But they told me she doesn't exist,
23:08that there's no patient with that name.
23:10But despite what they've tried to make me believe,
23:12I'm convinced that that woman exists,
23:14that she's a real person.
23:19And I need to prove it.
23:21And I know that anyone who says it
23:23will think I've lost my mind,
23:25but I can trust you, right?
23:28Of course, yes.
23:30Tell me what you need.
23:32I appreciate it.
23:34Wait.
23:36Brigida made me a papiloflexia figure
23:38with an ad pamphlet.
23:40See?
23:42This paper is real.
23:44It's a pamphlet from a confectionery.
23:46Therefore, Brigida can't be a product of my imagination.
23:47Right?
23:53Yes, yes.
23:55It's a real paper.
23:57It can't be a product of your imagination.
23:59Marta,
24:01you could go to that store
24:03and find out if you know Brigida.
24:06Matilde,
24:08what does Íñigo think about all this?
24:10I haven't told him.
24:12Lately, everything he's been told,
24:14Dr. Mendoza has too much weight on him.
24:15Besides, I'm sure
24:17that if Dr. Mendoza finds out what I'm doing,
24:20he'll find any way to convince Íñigo
24:22that I'm crazy.
24:24I see.
24:28Why don't you go?
24:31I think they could be watching me.
24:34I can't risk it, Marta.
24:36Besides,
24:38if Brigida is real,
24:40I don't want to put her on alert
24:42because she might be involved with Mendoza.
24:46Okay.
24:48I'll go at six when I finish my shift.
24:50Thank you, Marta.
24:52I don't know how I can thank you.
24:54You're welcome.
25:05Really?
25:07She doesn't know how excited I am to be with her.
25:11Very good.
25:13Yes, yes. Have a good day.
25:15See you later.
25:17Good morning, Celia.
25:19I don't know if this is a good time to talk.
25:22How are you, Agustín?
25:24Can I ask you if you went to see Laura yesterday?
25:27You can ask, and I have to thank you
25:30a thousand times.
25:32The plan with Laurita turned out great.
25:34Very good. I'm very happy.
25:36When I was at the door, about to call,
25:38with the recordings and soaked in the storm,
25:41I thought,
25:42this isn't going to turn out well.
25:44But when Laurita saw me,
25:46she asked me to stay there while she finished my work.
25:48You don't have to give me so many details.
25:50Please.
25:52It's enough for me to know that everything turned out very well.
25:54And all thanks to you.
25:56I can assure you
25:58that you won't regret it.
26:00I assure you.
26:02Modern fabric wedges delivered
26:05and my uncle loved them.
26:07After all the time you've invested,
26:09I knew you were going to approach him.
26:11Is there something that this woman does wrong?
26:14I'm sorry, Mismo.
26:16I hadn't greeted her.
26:20What's up, Celia?
26:22Any news?
26:25Well...
26:28I managed to get Estrellita Castro
26:30to come to the store to sign records.
26:32Estrellita Castro?
26:34Yes.
26:36She was a few days behind her agent
26:37and in the end everything worked out.
26:39That's great.
26:41How come you hadn't told me anything?
26:43Because I wanted to be sure.
26:45The artist had a lot of commitments this week,
26:47but in the end,
26:49she was able to make room for this afternoon.
26:51Congratulations, Celia.
26:53Artists with so much post-it
26:55are difficult to frame.
26:57Well, let's see.
26:59I've had some help.
27:01When Estrellita Castro didn't know anyone,
27:03I did a couple of jobs for her agent
27:05and the man did his part.
27:07No, no, no.
27:09I had a hard time getting her to come alone
27:11and in the end she was kind enough to come.
27:13She's lovely.
27:15Well, lovely for my partner.
27:17There's nothing you can't get, right?
27:23What I'm trying to tell you
27:25is that Fabio has agreed to keep the secret.
27:28Don't get me wrong, Mother.
27:30What he's telling me
27:32is that his friend wants to get me on a ship
27:34to the Americas.
27:35Yes, that's the condition.
27:37But I don't know why you're so nervous.
27:39You'll finally be able to see the world.
27:41Start a new life.
27:43Start a new life.
27:45I don't want to start a new life.
27:47My life is here, in Madrid.
27:49Oh, I had forgotten.
27:51Your life here in Madrid.
27:53And what are you going to choose?
27:55Live locked up in the basement or in the dungeon?
27:58You have to leave, Carla.
28:00You have to start from scratch.
28:02Fabio thinks it's the best.
28:03He even agreed to give you some time
28:05to sort things out.
28:07I don't like the idea
28:09of you two organizing my life.
28:11Don't worry, dear.
28:13He wants to talk to you face to face.
28:15Could you do it tonight?
28:17Tonight?
28:20No way.
28:22I told you from the beginning
28:24that if you stayed here in Madrid
28:26we'd be at risk of being discovered.
28:29What's going on, dear?
28:30I won't let Fabio go to the police.
28:32And I won't leave
28:34until I see the dead fly
28:36locked up in a mental hospital.
28:38I don't think it's a big deal
28:40to leave my life behind.
28:42Don't worry about Matilde.
28:44The doctor called me
28:46after talking to Iñigo.
28:48Everything is in order.
28:50What does that mean?
28:52It means there are people following her.
28:54They're waiting for an imminent entrance.
28:56I don't know if we can trust
28:58that Dr. Mendoza.
29:00Do you think he'll keep his word?
29:02I think so, dear.
29:04We may need him,
29:06but he needs us more.
29:08I'm not going to stay here
29:10with my arms crossed.
29:12I'm going to do everything it takes,
29:14everything,
29:16to kill that dead fly once and for all.
29:18I've done my research.
29:20It turns out that two of my acquaintances
29:22are friends of Mendoza's wife.
29:24Wow.
29:26You're taking advantage
29:28of all your friends, huh?
29:30I don't want them to get hurt,
29:32because thanks to them,
29:34I've found out that Dr. Mendoza
29:36is on the brink of ruin.
29:38He's a good psychiatrist,
29:40but he's a bad businessman.
29:42He's made several investments in stock markets,
29:45and it turns out that his operations
29:47have been disastrous.
29:49He's got one hand in front of him
29:51and the other behind him.
29:53What does he want?
29:55For me to feel sorry for him?
29:57Don't you see?
29:58That man's life
30:00can make it easier for us to reach an agreement with him.
30:05Do you want to bribe the psychiatrist?
30:08I'm talking about negotiating.
30:10It's what you do when you need it.
30:12But to negotiate in my way.
30:14That, of course,
30:16as long as you trust me
30:18and you don't interfere.
30:20Can you?
30:23Okay.
30:25I'll give you a blank check.
30:27But don't expect me to stay here
30:29waiting with one hand on top of the other.
30:31I started this game,
30:33and now I'm not going to leave it,
30:35which is more interesting than ever.
30:38Matilde won't have an escape.
30:41This is her end.
30:44I appreciate it, but I'm not going to leave.
30:47So take care of Fabio
30:49and I'll take care of Matilde.
30:51Each with their own problem.
30:53Your problem is not Matilde.
30:54Your problem is me.
30:56I'm going to protect you from that obsession
30:59you have against Iñigo and me.
31:01Mother, don't start that mother-rage speech again.
31:04I know how to take care of myself.
31:10I can't believe Estrellita Castro is coming.
31:14You'll see when my uncle finds out what he likes.
31:16He's going to be stunned.
31:18Why don't we celebrate it with a good meal?
31:20Yes, the truth is that it's a great idea.
31:22Besides, you go out for a while like this.
31:25You've been working too much lately.
31:27I can't,
31:29because I have a lot of things to finish for this afternoon.
31:32As you wish,
31:34but I'm still going to reserve for three
31:36in case I change my mind later.
31:38Have a good morning.
31:40Likewise.
31:45That's not the bravest thing you've ever seen.
31:47I mean, you don't know,
31:49the kiss he gave me yesterday
31:51was so affectionate and so tender.
31:54It was as if it were all a coincidence,
31:57a work of fate.
31:59I'm very happy.
32:01I'm going to keep working.
32:18Well, this is done.
32:21I'm going to do some shopping.
32:23Marta, wait a minute.
32:25Is something missing? I've cleaned everything and...
32:27No, no, no, calm down. Everything is fine.
32:29It's just that I forgot to tell you...
32:31Can't you tell me another day?
32:33I'm in a bit of a hurry today.
32:35I've been reviewing the manual,
32:37it's going to be another day.
32:39I've seen that it recommends books and...
32:41Can't you tell me another day?
32:43I'm in a bit of a hurry today.
32:45Well, I have the books.
32:47You can take them with you, right?
32:49Why would I want more books?
32:51To have to take the dust off?
32:53No, no, take it off.
32:55No, woman, no.
32:57But since you were so happy about studying on your own...
32:59Yes, but I have enough with the ones I have.
33:01It was just in case you wanted to expand the subject.
33:03Well, you know what my grandmother says,
33:05that knowledge occupies the home.
33:07Yeah, and you know what my grandmother used to say,
33:09that whoever has a lot of boat, has little mercy.
33:11Anyway, thank you very much for bothering me.
33:13It's not a big deal to bother you, Marta.
33:14I've been looking all over Salvita
33:16to find these blessed books from the teacher.
33:18Really?
33:20Well, I have to tell you that,
33:22after so much searching,
33:24you know the shelves better than I do.
33:26Well, thank you very much.
33:28It wasn't necessary.
33:30And now I'm going to run,
33:32because I'm going to be late for school.
33:34See you later.
33:36Goodbye.
33:41So, Domingo,
33:42this little party could take place here,
33:45in Madrid Cabaret, right?
33:47Well, as far as I know,
33:49Miguel and Trini didn't plan to make too much noise.
33:51Neither at their wedding, nor later,
33:53quite the opposite, something simple.
33:55At least that's what they've done from the beginning.
33:57Yes, I know, men.
33:59I even got them the church.
34:01If no one is bitter, a sweet.
34:03Well, let's see,
34:05I hadn't imagined a high post party,
34:07no, but if a party organized by friends,
34:09that strength has to make them excited,
34:10right?
34:12If the bride and groom want to come to Madrid Cabaret,
34:14of course they can come, they will be well received
34:16and they will have a special treatment,
34:18so don't worry, we'll get used to it.
34:20Thank you very much, Doniño.
34:22If you want to have a drink, you are invited.
34:24Of course, thank you.
34:26Iñigo,
34:28I bring you good news.
34:30I don't know if you know about this afternoon.
34:32What's going on this afternoon?
34:34Estrellita Castro is going to come to the gramophone store
34:36to sign records.
34:38How is it going?
34:40Well, a little, but that's not important.
34:42After the signature,
34:44I would like to invite you here, to Madrid Cabaret.
34:46Do you think it's okay?
34:48Yes.
34:52Are you okay?
34:54Yes, yes, no, no, forgive me,
34:56it's just that lately I've been going to heaven,
34:59but of course I can come with Estrellita Castro.
35:02It will be an honor to have them here.
35:05Iñigo, are you really okay?
35:07Yes, I'm fine.
35:09Serena, take it serious.
35:11I'm fine, don't worry.
35:13Can I help you with anything else?
35:17I would like to ask you about Matilde.
35:20Is she better?
35:22We are all very worried.
35:24Why should she be bad?
35:26Laura and the girls in the room told me something.
35:31So her condition is in everyone's mouth.
35:34I don't know if that's positive,
35:35considering the seriousness of the matter.
35:39Please, don't take it the wrong way.
35:42Matilde is a very beloved person,
35:44inside and outside the room.
35:46But I'm sorry, I didn't want to sound intrusive.
35:50No, I'm sorry.
35:52I know you're saying it out of affection.
35:55And of course Estrellita Castro can come.
35:59And they will have the best place and the best treatment.
36:03Thank you very much.
36:05Don't bother, Tomás.
36:07I have a lot of things to finish.
36:09Have a nice day.
36:17Come in.
36:19So Estrellita Castro herself,
36:22when your sister told me,
36:24I thought she was making fun of me.
36:26Yes, the truth is that Laurita and Celia
36:28are getting along very well.
36:30First Zenobia Campurbi and now Castro.
36:32The truth is that they are doing
36:33an excellent job with the store.
36:35Yes, my sister has her things,
36:37but when she gets something between her eyebrows,
36:39the world trembles.
36:41I'm sure it's a family thing,
36:43because you don't stay behind.
36:45By the way, you are following the rehabilitation exercises
36:47that the specialist sent you, right?
36:50Well, I started very well, but ...
36:54but I've been leaving it.
36:56Inés, you know that the road is long,
36:59but it's worth it.
37:01You have to go little by little,
37:03don't give up.
37:05But uncle, I did everything with Mrs. Juanes.
37:08But since she left,
37:10I'm not very sure this is going to go well.
37:13Doubting is normal.
37:15If I told you how many times I have doubted myself,
37:17you would laugh.
37:19No, but they are not doubts.
37:21I'm afraid.
37:23That's why I haven't called any of the specialists
37:25that Mrs. Juanes recommended to me.
37:27Can you give me some advice?
37:29Yes.
37:31If you are afraid, it is because you care.
37:33The things that matter are the only ones
37:35worth fighting for.
37:39Yes?
37:44If you excuse me, I have to make some appointments.
37:47Of course.
37:53If you excuse me, Mr. Fermin,
37:55I don't know if this is the right time,
37:57but I wanted to apologize to you.
37:59Apologize?
38:00I can't find a reason
38:02for you to apologize to me.
38:04I do.
38:06I didn't do well with Teresa and Cañete.
38:08I shouldn't have asked for your dismissal.
38:10Don't worry.
38:12We already talked about it
38:14and agreed to reschedule the situation.
38:16Don't turn around anymore.
38:18Of course I turn around.
38:20As a manager, my responsibility is to advise you.
38:22And you are doing a great job.
38:24I don't think so.
38:26I'm sorry, but I proposed to fire you
38:28and you didn't agree.
38:30I don't think firing an employee
38:32is a good thing,
38:34much less when it comes to Teresa or Cañete,
38:36who have been with us for so long.
38:38That's why I apologize.
38:40I thought we thought the same thing,
38:42but it's not like that.
38:44Next time I'll make sure to count on you
38:46before I go on the stand.
38:48I'm sorry if at any moment...
38:50I'm very grateful that you listened to me, Mr. Fermin.
38:52And now, if you don't mind,
38:54I have a lot of work ahead of me.
39:01And Marta?
39:03I thought I would see her
39:05after working at the bookstore,
39:07but I can't find her anywhere.
39:09She was with Matilde,
39:11doing some research, I guess.
39:13I don't know.
39:15She told me not to worry if she was late.
39:17As if you were going to listen to her, right?
39:19Don't say anything.
39:21You love her so much more than I do.
39:25And Lucia, how is she?
39:27You can imagine, right?
39:29She wanted to get me out of the nightmare.
39:32She looked nervous.
39:35I see.
39:37And she didn't tell you anything about what she dreamed?
39:39No, nothing.
39:41If she wants, she can tell me.
39:43But then,
39:45did you talk about anything?
39:47Nothing, Antonia.
39:49It was a bit strange, a bit weird,
39:51because...
39:53as if...
39:55nothing had happened.
39:56Maybe the nightmare
39:58wasn't that important, right?
40:01It's just that...
40:03Lucia has suffered a lot.
40:05And she still has wounds,
40:07even though she's better, right?
40:10But, I don't know.
40:12It's just that,
40:14when they put Giancarlo in jail,
40:16I couldn't sleep well either.
40:18She needs time.
40:20But time for what?
40:22For her wounds to heal.
40:23Yes, time to time, Pietro.
40:25I understand.
40:27But this is taking too long.
40:29We haven't finished yet.
40:31If it's not for one thing, it's for another.
40:33I know.
40:35But it will pass quickly.
40:37I'm sure of it.
40:39Soon they will give her the consulate papers.
40:41She will return to Italy, Lucia.
40:43And we can continue with our lives.
40:53Good afternoon.
40:55Hi.
41:02Let's go home.
41:20Good afternoon, everyone.
41:23What a beautiful store!
41:27Miss Castro, welcome.
41:29It's a pleasure to have you here.
41:31I'm Celia, nice to meet you.
41:33The famous Celia.
41:35Demetrio told me a lot about you, beautiful.
41:38You know what he told her?
41:40She is Laura,
41:42my partner and my friend.
41:44Nice to meet you.
41:46It's a pleasure for us to have you here.
41:48We admire your work very much.
41:50Your art, Laurita.
41:51What Miss Castro does
41:53is art with capital letters.
41:55Thank you very much.
41:57Mr...
41:59Fermin, to serve you.
42:01I know you.
42:03You invited me to see Doña Francisquita.
42:05What a beautiful thing that bra.
42:07Agustín Comas, Miss Castro.
42:09It's a real pleasure to see you again.
42:12And especially in this wonderful store.
42:14If it were only for the store.
42:16I've been told that Celia takes heart attack pictures.
42:19And I didn't want to miss that.
42:21And less with the one you have out there.
42:26Here, beautiful.
42:28What's your name?
42:30I haven't even introduced myself.
42:32I'm Inés, Laurita's sister.
42:34What a beautiful voice you have, Inés.
42:37My sister is an old artist.
42:39She's a singer.
42:42With shame.
42:44You don't go anywhere.
42:46If you were born an artist, you were born an artist.
42:49Well, I was an artist.
42:51But I had a problem with my voice and...
42:54I don't know if I'll be able to sing again.
42:57Yes, to sing again.
42:59You're trying very hard to recover.
43:01It's a war.
43:03Well, you're going to sing again.
43:05I'm telling you.
43:07No matter how hard things are, if you were born with that vocation, you'll get it.
43:10You think?
43:12Oh, look.
43:14I was like you when I was a kid.
43:16I wanted to be an artist.
43:17But there was no money.
43:19So what did I do?
43:21To pay for my singing lessons,
43:23I started working at the teacher's house.
43:25I'm glad you didn't leave me.
43:29Come on, let's go to the mess.
43:31To the mess.
43:36Thank you very much for waiting.
43:38Estrellita Castro is ready for the first performance.
43:41One at a time, please.
43:47Let's go.
43:53I don't know what to do.
43:55I don't know how to get the idea out of my head.
43:58It seems you don't know him.
44:00We'll have to send him a telegram.
44:03We don't want your help, Elias. Stop.
44:05Thank you very much. Stop.
44:07Let's see if you relax a little. Stop.
44:09Miguel Itrini. Stop.
44:11It's unbearable.
44:13There's no way he'll stop helping us.
44:14I don't know what that is.
44:16What it does is make our lives more impossible.
44:18I'm coming.
44:27Leonora?
44:29I mean, mother-in-law, what a surprise.
44:31Give me a hug.
44:33Oh, how affectionate you are with how detached you've always been.
44:35Mother!
44:37My daughter.
44:39How are you?
44:41Well, we didn't know you were coming.
44:44What are you doing here?
44:46Yes, no, what a surprise.
44:48But, well, how good, right, Trini?
44:50Well, I was going to see the guy in Guadalajara
44:52and I had to make a stop in Los Madriles.
44:54The train to there leaves early tomorrow.
44:56Anyway, I get to the station and I say to myself,
44:58this is the street of my Trini, so here I am.
45:00How are you? Tell me.
45:02Well, well, I'm working at La Moderna,
45:04he's at the bookshop.
45:06Come on, as always, as always, mother.
45:08As always, as always. Any news?
45:10News? None, none.
45:11If here every day is the same,
45:13almost nothing ever happens to us, right, Trini?
45:15Yes.
45:17Come on, cucumbers!
45:19Oh, the one he gave me with the cucumbers
45:21when I got pregnant with the girl.
45:23Oh, well, what a coincidence,
45:25because I honestly bought them
45:27because I was depressed, that's it.
45:29Cucumbers, chocolate, more cucumbers,
45:31I ate God at my feet,
45:33I got like a cancer.
45:35By the way, aren't you fuller?
45:37Well, maybe because
45:38I don't walk to work anymore.
45:40Do you understand?
45:42And do you go to the bathroom well, daughter?
45:44Yes.
45:46Why?
45:48I don't know,
45:50how you don't take your hands off your belly,
45:52you have it full there.
45:54Oh, honey, you're not constipated,
45:56you're pregnant.
45:58Oh, my daughter,
46:00oh, like no news,
46:02what a greater joy
46:04you're going to make me, grandma.
46:06And how are you going to take the baby?
46:08Leonora!
46:10If it's a girl, Leonora, like me,
46:12right, son-in-law?
46:14Of course, Leonora, sure, sure.
46:16And if it's a boy, Miguel,
46:18like my father, my grandfather, my great-grandfather.
46:20Oh, no, no, no, what a mess,
46:22a house with two Migueles.
46:24If it's a boy, Leon, like my father,
46:26right, son-in-law?
46:28Well, the truth is ...
46:30Yes, yes, yes.
46:32Oh, Leon, what a beautiful man
46:34you're going to put my grandson.
46:36Well, how many kilos do you already carry?
46:38And ten, ten kilos, yes.
46:40Well, don't get carried away with the sweet,
46:42what's wrong with me?
46:44Oh, daughter, you must have warned at work
46:46not to put yourself in a lot of effort,
46:48to see if something is going to happen to the creature.
46:50No, no, no, no, no, don't worry,
46:52at work everyone already knows my state.
46:54Do you realize?
46:56We're going to have the sweet boy
46:58all day surrounded by cakes.
47:00But let's stop talking about us, mother-in-law.
47:02How's the trip?
47:04What time does he say he's leaving tomorrow?
47:06This is my son-in-law.
47:08Well, good.
47:10I mean, at first bad, but now good,
47:12I mean, calmer, better.
47:14And appetizers?
47:16Well, I ...
47:18Well, the cucumbers.
47:20Oh, I chose disgusting, no.
47:22And cakes, don't you have?
47:24No, no.
47:26How beautiful the four of them.
47:28Yeah, they look good, don't they?
47:30The daughter is so big.
47:32What an illusion, what an illusion.
47:34Oh, what a great illusion.
47:36So many people have come.
47:38I've had a great time.
47:40Now I have the doll crushed, crushed.
47:44But with what you are, you will be used to it, right?
47:47You don't have to get used to it.
47:49And it's the beautiful thing.
47:51So write it down,
47:53that you will already have the doll like me.
47:55Miss Castro,
47:57what do you think if we finish the day at the Madrid Cabaret?
47:59And so we celebrate it from the top.
48:01I would love to, darling,
48:03but I have to catch a train to Toledo,
48:05I have to go to Madrid.
48:07Well, it will be another time.
48:09The signature has passed me very quickly.
48:11Well, what about me?
48:13I'm looking forward to more.
48:15Why don't we do something in two days,
48:17when I'm more free?
48:19What are you thinking about?
48:21Why don't you make me one of those photos of yours
48:24that I really want to know your art?
48:28That's done.
48:30It is an honor and a pleasure
48:32to immortalize a star of his size.
48:33Oh, girl,
48:35I'm immortal,
48:37but I want you to make me pretty,
48:39and it's true.
48:41Miss Castro, I'm sorry,
48:43but you can't leave here
48:45without visiting La Moderna.
48:47The tea room?
48:49Yes.
48:51Ah, yes?
48:53The Argentine Empire and Pique speak wonderfully
48:55about what is served there.
48:57They are both very kind,
48:59so please, I ask you to do us the honor of visiting us.
49:01I won't steal your time.
49:15Look at my uncle, he's so happy.
49:17I've never seen him like this.
49:19And Miss Castro is not far behind.
49:21It's been a fantastic evening.
49:23Congratulations, Celia.
49:25No, congratulations twice.
49:27For bringing her and for the photo session you'll do.
49:29There's nothing that can resist you.
49:31Congratulations to both of you.
49:33Now we're going to lose your uncle and Miss Castro.
49:48Who is it?
49:50It's me, Marta.
49:58Matilde, what a face.
50:00I'm in a good mood.
50:01I'm sorry I couldn't come earlier.
50:03It's just that between work, one thing and another...
50:05Yes, yes, don't worry.
50:07It's just that the bell scared me to death.
50:09Tell me, have you found out anything?
50:12Indeed, you were in the right place.
50:14It's a candy confectionery.
50:16They have all kinds of junk,
50:18food stuff...
50:22Have you told anyone where you were going?
50:24It's very important that you don't attract attention.
50:27You know I don't know who I can trust.
50:29I haven't told anyone,
50:31I've told everyone I was on my way
50:34and no one has paid attention to me.
50:36So what?
50:38What about Brígida?
50:40Have you seen her? Have you asked about her?
50:42Well, I've asked about her, but...
50:44But?
50:46Well, Matilde, no one knows anything.
50:49No one knew any Brígida.
50:51I'm sorry I can't tell you anything else.
50:54How many people have you asked?
50:56Because maybe the people who know her
50:58weren't working at the time.
50:59Matilde's shop was small,
51:01she was in charge,
51:03a couple of waitresses...
51:05Everyone was surprised by the name.
51:07They didn't know anything, it was very strange.
51:09But what have they told you exactly?
51:11That they don't know any client
51:13or any waitress with that name.
51:15I didn't ask much either,
51:17I didn't want to attract attention, but...
51:19But that can't be, Marta.
51:21That can't be.
51:23It can't be that Brígida is a product of my imagination.
51:25Because if not, how can I explain the pamphlet?
51:27And you've been in that shop,
51:29I can't be going crazy...
51:31Matilde, not knowing her at the confectionery
51:33doesn't mean she doesn't exist.
51:35Okay?
51:37Maybe we should keep looking.
51:39I'll call Marta and we'll find her.
51:51We've lost the main lighting focus of the studio,
51:55but you have several theatres,
51:57maybe you can lend us a light?
52:00Yes, of course.
52:02We should have finished this farce a long time ago.
52:06Yes, but now it's too late,
52:08we can't tell the truth anymore.
52:10Let's see what we can do.
52:12Doña Lázara has asked me to make peace
52:14and has offered me a kind of deal.
52:16If I stop investigating her,
52:18she stops pressuring me to fire me.
52:21And I don't know if I should tell all this to Don Fermín.
52:24That's very risky, Teresa.
52:25If Don Fermín doesn't believe you
52:27or becomes part of her,
52:29then you'll have to deal with
52:31a rabid manager with no power.
52:33What if he believes me, Cañete?
52:35What if he believes me and we can get rid of her?
52:37Is something wrong, Doña Lázara?
52:39Maybe I overstepped when I questioned
52:41the dismissals he offered me the other day.
52:44Well, if he doesn't agree,
52:46it's normal that he wouldn't allow it.
52:48I even thought
52:50that it wouldn't have been a good idea
52:52to make her manager.
52:53From now on, until Cañete returns,
52:55you'll be in charge of her position.
52:57This way, you, Teresa,
52:59will get rid of the extra burden
53:01you have to cover the head of the waiters.
53:03But what if he hasn't used his name and made it up?
53:06But why would he do such a thing?
53:08Well, because I'm more and more sure
53:10that he's set me up to make me lose the trial
53:12or to make everyone think so.
53:14You yourself will have proven
53:16that your wife's situation is getting worse at times.
53:18With all sincerity,
53:20I think we should get her in as soon as possible.
53:21I'm sure she's showing new symptoms.
53:23That's right.
53:25Well, Marta, I need you to go to the confectionery
53:27and ask about her again.
53:29This time, you won't ask about any name.
53:31You'll ask about a woman
53:33with brown and curly hair,
53:35pale and wearing glasses.
53:37There's something that still worries me
53:39because I know for a fact
53:41that they're still selling
53:43the company's assets.
53:45Is that true?
53:47I don't know why this financial maneuver worries you.
53:49Well, it worries me a lot.
53:51It's a typical dessert from our land.
53:53You always loved how I prepared it.
53:56It's the only dessert that turned out better than mine.
53:58Yes, Pietro, I did what I could.
54:00Having a cook at home,
54:02you have to make a lot of effort to please him.
54:04Considering the magnitude of the deception
54:06of which I have been a victim all this time,
54:08I think my conditions are the most reasonable.
54:11It's not about what you think.
54:13It's about what I want.
54:15Then I have no choice
54:17but to go to the police.
54:19If Fabio disappeared now
54:21because of an accident,
54:23it would cause such a ruckus
54:25that it's not good for us.
54:27Do you really think there's someone
54:29watching you on the street?
54:31Well, it's an impression I have.
54:33I don't know why.
54:35But maybe it's another one of my hallucinations.
54:37You don't have to worry.
54:39I'm still determined to go to that sanatorium
54:41as soon as Clarita returns.