Salón de té La Moderna - Ep 215
Transcript
00:00The first few days are usually difficult, you'll see that little by little...
00:04Yes, but it would be better if you didn't disauthorize me in front of her.
00:08What have I done here?
00:14I'm going to school, bye.
00:16Are you waiting for your sister?
00:17Where are you going?
00:18I've already told you, to school.
00:20Well, you're waiting for me, I'm coming with you.
00:22I'm going to school.
00:23I'm going to school.
00:24I'm going to school.
00:25I'm going to school.
00:26I'm going to school.
00:28Well, you're waiting for me, I'm coming with you.
00:30I can go alone.
00:31No, you can't, you're waiting for me and that's it.
00:34I'm leaving.
00:35If you want to come, come.
00:37But I'm not waiting for you because I'll be late.
00:39Clara!
00:40Teresa, where is Cañete?
00:58I need to talk to both of you.
01:00Well, he'll be in the locker room.
01:02Do you want me to go get him?
01:04Is it possible that he hasn't arrived yet?
01:06He had to be here ten minutes ago.
01:08I'm already here.
01:09Excuse me.
01:10There was another traffic jam on Toledo Street and I had to come walking.
01:13One day there will be a disaster on that slope.
01:15Well, I just wanted to let you know that you have to take care of the living room this afternoon.
01:21You won't be able to count on me or Don Fermín.
01:23I've been invited to spend the afternoon in El Escorial with his nieces.
01:28El Escorial?
01:29Very nice.
01:31The Basilica of the Monastery is wonderful.
01:33And what I like is that little cinematographer on the main street.
01:37Do you know him?
01:38Next to the hotel of the Swiss.
01:42Good.
01:43As we will have dinner at the real place later, I need you to take care of the closing.
01:47Okay?
01:48Of course, Mrs. Alastra.
01:50Count on it.
01:51Of course.
01:52That's all.
01:57She was right.
01:58We're in trouble because of Don Fermín.
02:01They were locked up in the reservation a while ago.
02:04And now he's going to have dinner at El Escorial with his nieces.
02:08Don Fermín will be at home any day.
02:13I have to hurry with the investigation.
02:15Because Don Fermín has to know as soon as possible who he's playing with in the rooms.
02:20Well, tell me. Have you found out?
02:23Well, you see, I talked to the employee.
02:26Her name was Maria Cristina.
02:28And at first it seemed that there would be no problem.
02:31That she wanted to talk, but she was afraid.
02:34And in the end I only talked to her for a minute.
02:36Fear? Why fear?
02:38Well, because it seems that she took someone in front of her.
02:44Are you telling me, Teresa, that Mrs. Alastra is a murderer?
02:49That's what the employee insinuated.
02:51And because of the quarrel with whom she spoke to me, I honestly believe it.
02:56Those are big words, Teresa.
02:59Are you thinking that Mrs. Alastra wants to kill Don Fermín?
03:06Man, no.
03:07I don't know, what I think is that what she wants is to take Don Fermín to the garden.
03:11And marry him.
03:13And then to inherit?
03:15Man, no, that would be a big mistake.
03:16Because it would be the first one they would suspect.
03:20Although, I don't know, the same has happened.
03:25So what?
03:27Well, listen to what we are going to say.
03:29We have to be careful.
03:31Because if Mrs. Alastra sees that we get in her way,
03:35maybe we are the next ones.
03:37Good morning.
03:54Good morning.
03:55Hello.
03:57Is there something missing in the show?
03:59No, no, no.
04:00I came to say good morning and see how I was.
04:05Good morning.
04:08Are you okay?
04:10Yes, why?
04:12No, before when I came to the lab I always heard you singing.
04:16And lately I don't hear you sing.
04:20It's just that I'm not much to sing.
04:25Has something happened?
04:33Pietro.
04:34Yes.
04:36Let's see how I tell you.
04:39You won't like it.
04:42You're scaring me. What's wrong?
04:46Lucia...
04:49Lucia isn't sure she wants to go back to Italy.
04:56What do you mean she doesn't want to go back to Italy?
05:00And Giancarlo, her son?
05:02He told me he came to Spain with the intention of...
05:08Of going back with you.
05:12Of getting his family back.
05:18Well,
05:20well, the hen has already sung.
05:22At last.
05:23Right?
05:25So all that, that he didn't want to give us problems,
05:28that he didn't want to ruin our wedding, all that was a lie.
05:31Of course.
05:32I understand that you're angry, Antonia.
05:34But please, I only ask that you don't pay for it with me.
05:37That I have nothing to do with all this, because I only want you.
05:40Yes, but you're married to that woman, huh?
05:42And you live with that woman.
05:44And you sleep under the same roof as someone who wants to separate me from you.
05:46Do you realize that?
05:48Yes, I realize.
05:49Yes.
05:50But I insist.
05:51What she wants is one thing, what I want is another.
05:53And what you want is exactly the same, Pietro.
05:56The law is the law.
05:57And you're married to that woman.
05:59Yes, but when the consulate papers arrive,
06:02my marriage will be considered null.
06:04But it's not worth it.
06:05Well, it's not worth it to her.
06:07Because if she thinks that I'm going to move away from the path,
06:09she's right.
06:14I should ask her to leave the house, right?
06:17I don't know, Pietro.
06:19I don't know, you tell me.
06:20I should.
06:23I should
06:25tell a woman
06:26to leave a house
06:27when she's trying to separate me from you.
06:30Every minute that woman spends there
06:33is another minute that she's trying to separate me from you.
06:38Even if I kick her out,
06:41she has made it very clear to me that she wants to stay in Madrid.
06:44But stay in Madrid. Madrid is too big, Pietro.
06:46I don't care. I live in Madrid.
06:49Now, don't cross my path.
06:50Because I'm starting to get tired of that woman.
06:52Antonia, please.
06:55Antonia.
06:57I just ask you to...
06:59I swear.
07:00I swear that I'm going to solve everything.
07:03And we're going to get married.
07:05I give you my word, my love.
07:08We'll see.
07:15There's no milk?
07:17I gave the morning off to the service
07:19with the excuse that we would be out.
07:21Logically, I wasn't going to send them to the bakery for milk.
07:24Well, what a nuisance to have to drink black coffee like the poor.
07:29We can deal with the matter that concerns us if there's not much to ask for.
07:33Dear Fabio,
07:34do you realize how complicated it is to have Carla here in the living room of her own house?
07:39Imagine what it means to take her out to the street,
07:42take her to the port,
07:43embark her on a trip abroad.
07:46You have to take a lot of precautions.
07:48Among other things, stop treating me like I'm an idiot.
07:54I've been asking you for days when she's leaving
07:56and what route she's going to take.
07:57And you don't give me a clear answer.
08:01We'll give you an answer when we know.
08:03For now, we don't know, right, mother?
08:07Well, my patience has a limit.
08:08And when I have reached that limit,
08:10all I have to do is show up at the police station
08:13and explain what's going on here.
08:18A barking dog,
08:19not a biting one.
08:21It's over. It's over.
08:22I'm going to report you.
08:24Oh yes, do it.
08:25And by the way, also explain to them that I've known for a few days.
08:28We're all going to calm down, okay?
08:32Daughter, can you leave us alone for a moment?
08:36Of course.
08:42Sit down, please.
08:50Fabio, I ask you to trust me.
08:52I'm not giving you a hard time.
08:55My daughter is leaving the country.
08:56It's a matter of days.
08:58I give you my word.
09:00Okay.
09:01I trust you.
09:03But I want to see progress.
09:04And I want to see it now.
09:06Among other things, you have to make a decision about the sale of the gallery.
09:09But that decision has already been made.
09:11I prefer to set fire to it before selling it to Íñigo Peñalver.
09:14But why do you keep insisting on that?
09:16I've already explained to you that Íñigo is not going to buy anything.
09:19He's just an intermediary.
09:20Well, they should have chosen another intermediary.
09:23While that man is in the way,
09:25I'm not going to sell, sign, or agree anything with anyone.
09:30And I'm very disappointed that you're still dealing with him.
09:33It's none of your business who I deal with or stop dealing with.
09:38You haven't told him anything about what's going on in this house?
09:41If I wanted to tell him what's going on in this house,
09:43I would have already told the authorities.
09:46But I'm a man of my word.
09:48You know that enough.
09:50Yes, it's true.
09:52And I thank you for that.
09:54Thank me with facts.
09:56Words are carried by the wind.
10:00Get your daughter out of Spain.
10:01As soon as possible.
10:11So, what about the Hermit of Camporreal?
10:13Everything went to hell thanks to our dear Elias.
10:16Look, I'm about to...
10:17You're talking about Elias.
10:19How do you know?
10:20Well, because of him.
10:23Miguel was telling me that you already have another plan.
10:25Peñalo de Santiago, León province.
10:27After the end of the world, to the right.
10:28That's where we're supposedly going to get married.
10:30Twelve hours by bus, three hours on top of a donkey.
10:33We're going to be perfect so that no one can check.
10:36But that's where you have family, in that region.
10:39That's the least of it.
10:40In short, we tell everyone that we're getting married there.
10:42Far away.
10:43We'll have a couple of days off.
10:45We'll lock ourselves at home.
10:46We'll make the alliances shine a little bit.
10:49Peace and then glory.
10:51I hope this time it goes well.
10:54And if you need anything, let me know.
10:56The only thing we need is that if Elias wants to get in the way...
10:59I'll take care of it.
11:01That's it.
11:02Well, I'm leaving.
11:05Aren't you going to eat any cake?
11:07I'll take one on the way.
11:08I'll take one on the way.
11:14My God, how are the people of Revolucionada?
11:17So what?
11:18The newspaper says there are several demonstrations planned for today.
11:23When I see you, the vampire...
11:26Speaking of the vampire...
11:28How's Teresa doing? Because I see her suffering.
11:32I'm sorry, I can't tell you anything.
11:34I mean, if there's something...
11:37There is something.
11:38But it's better if you don't know.
11:39Besides, it's better if you don't even want to know.
11:42Because it's terrible.
11:43Please, you can't leave me like this.
11:46Trini, I haven't promised discretion to Teresa.
11:49And when I give my word...
11:50Okay, okay, I won't insist anymore.
11:53And I will tell you...
11:55Teresa is risking her neck to unmask that witch.
12:00And I don't say it figuratively.
12:02What do you mean?
12:03I mean...
12:04She's putting her life at risk.
12:07Something like that.
12:08But don't ask me anymore.
12:10Okay, I won't ask you anymore.
12:12But please, tell her to be careful.
12:14And if she needs anything, tell me.
12:16I'll tell her, don't worry.
12:17I'll leave you, I'm in a hurry.
12:27Good morning.
12:29How are you doing?
12:30Finishing.
12:31Finishing.
12:32Hey, I wanted to ask you a favor.
12:35It's a bit delicate.
12:36I wouldn't ask you if it wasn't almost a matter of life or death.
12:39No problem.
12:40I'll stay in the front.
12:42As you say.
12:43I wanted to take a few days off to go to...
12:46Where was it?
12:47Moscas del Pará?
12:48Peñalba de Santiago.
12:49Whatever.
12:50A few days to be at your house without smoking pot.
12:52How do you know?
12:54You would be the bone-breaker in the military,
12:56but I'm the archipampano of the subterfuges at the faculty.
13:00I've sent my father a rosary of excuses,
13:02and he hasn't caught a single one.
13:04Look at him, and he says it with pride.
13:06You're one of a kind.
13:07I'm sorry, but you're the liar today.
13:09You're meddling with your boss, your wife, your friends,
13:12the customers of La Goleta, and not to mention...
13:14It's okay, it's okay.
13:15You don't have to remind me.
13:16I'm quite overwhelmed.
13:17Well, don't overwhelm yourself any more.
13:19La Goleta de las Letras will be managed with a firm focus
13:22by a secure server.
13:24You really don't care?
13:25Look, it's three days from opening at the first hour...
13:28...opening at the first hour,
13:29putting in the press boxes,
13:31organizing the subscriptions,
13:32putting in the news,
13:33returning the surplus,
13:35checking that there's a change in the box,
13:37and closing at night.
13:38And I'll take care of the clientele, of course.
13:41Well, you don't know how grateful I am.
13:43All because love triumphs.
13:45And speaking of love,
13:46how was yesterday's studio session with Marta?
13:49I hope it was a real studio session.
13:51Although, well, I don't trust the one you'd like.
13:53Don't believe it, okay?
13:55We've worked our asses off.
13:57Well, but there was also some time to chat and have a snack.
14:02What's coming?
14:07I don't want to steal your time, but...
14:09Anyway, after everything you've told us,
14:11I think the least we can do is keep you informed.
14:13Although I think Marta has already told you something.
14:16Yes, she told us that...
14:18...the psychiatrist was in agreement with someone to...
14:21...to make Matilde believe that she was nervous.
14:24That's it.
14:25Everything was a plan to make Matilde believe that...
14:29...she was crazy.
14:31What kind of people are these?
14:33Yes, and Matilde is an angel.
14:35Who can love her so badly?
14:37I see.
14:38I was convinced.
14:40I was already working on getting her into a sanatorium.
14:42And if it wasn't for Matilde and Marta,
14:44who have helped us a lot...
14:45Well, you only thought it was the best for her.
14:48Of course, what was I supposed to think?
14:50If only the doctor said so.
14:51Look at this.
14:52They hired an actress.
14:54To pretend to be a psychiatrist's patient.
14:57An actress?
14:58Yes, all this is very ridiculous.
15:00That woman was called Brígida.
15:03She became more or less a friend of Matilde's.
15:05She talked to her in the waiting room.
15:07And one day, suddenly, she disappears.
15:09Then the psychiatrist tells Matilde...
15:11...that all this is the result of her imagination.
15:15Of course, that's the woman who found Marta.
15:17That's it.
15:19And thank goodness she left a trail after her visit.
15:22So that Brígida, Marta and Matilde could find each other.
15:26My God, it must have been a nightmare for you.
15:29What hurts me the most about all this...
15:31...is having doubted Matilde.
15:33But the doctor kept telling me to be careful...
15:35...because sick people can be very convincing.
15:38And I didn't know what to think.
15:40Well, the important thing is that in the end...
15:42...she wasn't hospitalized and that...
15:44...the whole truth is out.
15:46The whole truth, no.
15:48It's known who was behind all this.
15:52We are certain that it was...
15:55...Mrs. Bárbara.
15:56Carla's mother.
15:57Carla's mother?
15:59Yes, that woman is obsessed with the fact that...
16:01...her daughter's death was my and Matilde's fault.
16:04And have you reported her?
16:06Not yet, because we don't have enough evidence.
16:09But when we have them, we'll talk about it.
16:12Well, I don't want to steal any more of your time.
16:15Thank you very much for listening to me.
16:17Thank you very much for coming.
16:19Tell Matilde, of course, that we're here for what she needs.
16:22She knows that, but...
16:24...that too, what she needs.
16:28Good luck.
16:39Good morning.
16:40Very good, yes.
16:41How are you?
16:43I came for the press of La Moderna.
16:45Of course.
16:47Here you go.
16:49Anything else?
16:50Nothing, thank you.
16:51Actually, I should be the one thanking you.
16:54Because since Salvita met you...
16:56...she's changed a lot. She seems different.
16:58She's much more hard-working, kinder.
17:00It's just that now I have reasons to make merits.
17:10The pen of the letters? Tell me.
17:12So, the study is going well?
17:15I try to take advantage of every minute I have free.
17:17I want to be a woman of profit.
17:19That's the attitude.
17:21Yesterday I did very well studying with you.
17:23That's good.
17:25It's a shame that you're not going to stay here for long.
17:27What?
17:28Salvita said that it's a shame that she's away...
17:30...because if she had more time, she could help you more often.
17:33Miguel.
17:34It's Mr. Ibarra, he's asking about songs of land and sea...
17:37Sea and land.
17:38Sea and land, by Concha Mendez.
17:40Do we have it?
17:41Yes, it arrived yesterday.
17:43I put it...
17:44Tell him yes, that we have it and if he wants, we'll send it to him.
17:48Marta, wait!
17:49Yes, yes, Mr. Ibarra, we have it.
17:51Come and get it whenever you want, thank you.
17:54But how come you didn't tell him that we'll send it to him?
17:57Mr. Ibarra is a war veteran, he's missing a leg.
18:00And what did you tell Marta to leave without saying goodbye?
18:02I don't know, nothing.
18:05Take it to Mr. Ibarra.
18:07Sea and land.
18:14That smells weird, doesn't it?
18:16It's oregano.
18:18Does it smell bad?
18:19No, not bad.
18:20It just smells weird.
18:22I don't know if I'd drink it.
18:24No, I'm not going to drink it.
18:26To make gargles, but I have to wait for it to cool down.
18:30Did Mr. Estrada prescribe it to you?
18:32Yes.
18:33I have to do it every day, but...
18:36I don't know, my throat is irritated.
18:39You'll see, with the oregano, I'm sure you'll get better quickly.
18:47I'll go.
18:57Hello, uncle.
18:58I love the new girl. The more I listen to her, the more I like her.
19:02Thank you very much, come in.
19:04Well, ready to go on an excursion?
19:07Uncle, I don't have the body to go on an excursion.
19:10I have a terrible throat.
19:11Oh, my God.
19:12Are you feeling so bad that you don't want to leave the house?
19:15If it was cold, but...
19:16It's a beautiful day, Inés.
19:18I'm sure the air of the mountains makes you feel good.
19:20No, the truth is that I'm not in the mood.
19:22It's just thinking about poor Agustín.
19:24What's wrong with Agustín?
19:26The man insists on waiting for me to set up the pharaoh's court.
19:30And now, all of a sudden, I have this relapse.
19:32And again, I'm going to leave him stuck.
19:34Let's see, darling.
19:35A throat irritation is not a relapse.
19:38That can happen to anyone.
19:40Besides, you just started your recovery.
19:42Agustín knows that this is a slow process.
19:44Come on, cheer up, woman.
19:45No, I prefer to stay at home.
19:47I don't want to be late.
19:49Well, well, it doesn't matter.
19:51You're not going either.
19:53Are you ready?
19:55Yes, but seeing how he is, I think I prefer to keep him company.
20:00But, Laurita, poor guy.
20:02If we're going to spoil his excursion...
20:04No, no, no, don't worry.
20:06I was doing it for you.
20:08It's a beautiful day.
20:10The squirrel must be very beautiful.
20:12The forest of the herrería, the rubledales and the monuments.
20:15Anyway, what are we going to do to him?
20:17Well, nothing.
20:19We'll go, Mrs. Lázara and I, alone.
20:22I'm sorry.
20:24Don't worry.
20:26You, to get better.
20:27And above all, don't fall, my dear.
20:31I'll be back at night.
20:35Take care.
20:39And I'm going to have to grumble.
20:41I'm ruining everyone's plans.
20:44No, no, that's not why.
20:45I don't care about the squirrel.
20:47Besides, I'm sure the guy prefers to go alone with Mrs. Lázara.
20:50But it can't be that your will to fall is the first thing to change.
20:55He's right.
20:57You have to trust yourself and the treatment.
21:00Faith moves mountains, but it also cures throats.
21:10Well, what's all this mystery about?
21:16I think you can imagine, right?
21:19Does it have to do with Marta?
21:22Lady?
21:23That's what she said, right?
21:25She came to the bookstore earlier and we barely talked.
21:28I had to run.
21:29What happened? Did something happen to her?
21:31As far as I know.
21:32And I'd like her to stay that way.
21:34I don't understand.
21:38Of course you understand me.
21:40Look, Pietro, talk to me clearly.
21:42Yes, I'll make it clear to you.
21:44Don't worry.
21:47Marta and you get along very well, right?
21:50I've heard you haven't fallen asleep again.
21:53You're a very nice guy.
21:57And a very studious guy, too.
22:00And now comes when the but comes.
22:02Of course the but comes. And it's very big, too.
22:08I think it's very good that Marta likes you.
22:10But...
22:13But you want to know what my intentions are with her, right?
22:15Bravo.
22:17Look, the first thing with Martita is maximum respect.
22:21My parents gave me an education as they taught me.
22:23And although sometimes I've been a bit clumsy...
22:26Well, not a bit, quite clumsy.
22:28What's clumsy?
22:30That they bore me.
22:32They bore me.
22:33A vagabond.
22:35I like Marta very much and she makes me improve at work and grow as a person.
22:40And with her, at the moment, I have no intentions.
22:44None?
22:46Look, Salvita, Marta is like a daughter to me.
22:48And you are like a father to her, right?
22:50She told me.
22:51But I don't know if you need a father who protects you.
22:54And she knows how to defend herself very well on her own.
22:56Of course.
22:57And I don't think she has to defend herself from you.
23:00It's just that Marta has a project.
23:02Yes, to study.
23:03Study, bravo.
23:04Get a degree.
23:06Become someone in this life.
23:08More than someone's wife, right?
23:11And I'm not going to let anyone distract her from all this.
23:16Do you understand?
23:18Good.
23:20You are friends.
23:22Very good.
23:23You spend time together.
23:25Very good.
23:27But priorities.
23:29Salvita, do you understand?
23:30Yes, yes, yes, yes, yes.
23:31Perfectly.
23:32I think it's a great project to study.
23:35And I'm not going to distract her at all.
23:39Well.
23:43I found it very sincere.
23:44I'm going to believe you.
23:46But I'm going to be very careful.
23:50Very careful.
24:11So the psychiatrist admitted that he had been cheating on you all this time?
24:16He admitted it.
24:17But don't think he was sorry.
24:19He said it was my word against his.
24:21And since he is a recognized doctor and I am a dangerous madwoman,
24:24let's see who would believe me.
24:26What cheekiness.
24:28It's amazing that there are people out there doing those things and going to Rositas.
24:31He didn't go to Rositas.
24:33What a punch Iñigo hit him with.
24:36Really?
24:38In the whole face.
24:43Well.
24:44And how are you?
24:45And how are you?
24:46I guess it would have been a relief to discover all this, but content I won't let you.
24:50Well, imagine.
24:52Knowing that there is someone conspiring against you in this way.
24:56And this time they haven't managed to take my life.
24:58But with the memes they can come for me again tomorrow.
25:03And are you sure it was Mrs. Carla's mother?
25:06I have no doubt.
25:07But I can't prove it.
25:09The snake.
25:12Well, I don't want to turn the subject any more.
25:15I wanted to thank you for everything you have helped us,
25:18but I also wanted to ask you to give me a cable with Clarita.
25:23Did you see how she came from Jerez yesterday?
25:25Yes, last night I saw her a little upset, yes.
25:28Well, this morning even worse.
25:31She has taken it with me.
25:32Marta, with you and Antonia she is charming,
25:36but she treats me with kicks, she replicates me, she challenges me.
25:40Well, she does start with the payment soon, the girl.
25:42But I don't know if it's the payment or what it is.
25:45I don't know what to do with her.
25:47And I thought she was going to come calmer from Jerez, but quite the opposite.
25:50And I swear I don't know where she's going to go.
25:53If she wants, she can come with us for a few days.
25:58Yeah, I just don't know.
26:01Because that's what she wants.
26:03And of course it would help me to save some fights at home, but ...
26:07But look, she even wants to go and come from school alone.
26:10Marta is too small.
26:12Don't even think about it.
26:14Now I'm going to pick her up from school, she gives me her clothes, her things,
26:18and we go straight home.
26:20Okay?
26:21Thank you very much, but ...
26:23I don't know if it's for the best.
26:26Because giving in to this, which she has demanded of me in such a bad way,
26:29would be like inviting her to follow this impertinent plan.
26:32Do you understand?
26:34What do I do?
26:36Matilde, give her a lot of love.
26:39And trust her.
26:41That girl has lost her foot.
26:43She has become an orphan.
26:44She has lost her mother when ...
26:46When she needs it the most, she becomes a mother.
26:49And on top of that, she has no father.
26:52Do you understand?
26:54You're right, poor thing.
26:56She had to mature faster than normal.
26:59The most worrying thing would be if she wasn't rebellious and stubborn.
27:02Look what I'm telling you.
27:03If she feels the courage to face you, it's because ...
27:06She knows that your love will never be lacking.
27:09That's the most important thing, Matilde.
27:14You're right.
27:16Thank you, Marta.
27:18You're a friend.
27:20Precisely because I'm your friend, you don't have to thank me.
27:23I do it with pleasure.
27:39Your mother. Your mother. Your mother.
27:41What? Don't be scared.
27:42I just saw your mother. She's coming through the gallery.
27:44What do you mean she's coming here?
27:45What do we do? What do we do?
27:46I don't know.
27:47We should have told you the truth.
27:49What did you tell me?
27:50They're going to hear us.
27:51This woman didn't go to Guadalajara and then came back home.
27:54I don't understand.
27:55I'm sure it was her.
27:57Well, you tell me.
27:58We have to send her home before she wakes up.
28:00Your mother is very talkative.
28:01Hey, calm down. She's my mother.
28:02And there's only one mother.
28:03And I found you on the street. Come on.
28:06Oh, daughter, I didn't see you.
28:08Where have you been?
28:09Here.
28:10There's my husband.
28:11Let's see if you iron his shirts better.
28:13He's a mess.
28:15How soon have you arrived?
28:18Well, yes.
28:19It's just that I took the first train and I thought,
28:21look, I'm going to spend a few days in Madrid.
28:23Wouldn't you mind if I brought your mother-in-law home for three or four days?
28:27For God's sake, how could I care?
28:29And right now, I'll go with you so she can get comfortable.
28:32Let's go.
28:34But...
28:35Yes, yes, better.
28:36Because I have a lot of work, mother.
28:38See you. See you later.
28:41Excuse me.
28:43Are you Trini's mother?
28:45The famous Mrs. Leonora?
28:49Delighted to meet you.
28:51Elías Tejada, to serve you.
28:53Thank you very much, sir.
28:55Well, I see you're coming with luggage.
28:57I imagine you're going to Peñalba de Santiago.
29:00To the happy event.
29:02No, no.
29:03I'm here to see my daughter and her...
29:05Suffering.
29:07The rigors of the Madrid heat wave.
29:09It's so hot.
29:11And on top of that, there are demonstrations.
29:13Demonstrations?
29:14Here?
29:15And my poor daughter is not there.
29:17In what state?
29:18Civil, single.
29:19Yes.
29:20It's just that my mother thought I would stay to dress like a saint,
29:23but she married me.
29:24What a shame, mother, that you can't come to the wedding.
29:26But what?
29:27It's just that Mrs. Leonora is a little overwhelmed
29:29by the speed at which things have taken place.
29:31It has been a very short relationship.
29:33I know, I know, I'm sorry.
29:35I'm sorry and I'm also very sorry that we celebrate the wedding
29:37in the Montes Aquilianos.
29:39In the Montes what?
29:40I don't even understand him when he speaks.
29:42Elías, I think the vampire is calling you.
29:44Didn't you hear her?
29:45What?
29:46Yes.
29:47Where?
29:48Damn it.
29:49Sorry, ma'am, but duty calls me.
29:52The first thing is to congratulate her for the imminent link
29:55of Trini with Miguel.
29:56A good match, a couple.
29:58It's worth a little, yes.
29:59And I trust to see you again soon, Mrs. Leonora.
30:03You have the name of a queen and a beauty.
30:06At the height of Nefertiti.
30:09Well, nice to meet you.
30:10A pleasure.
30:13Go, go.
30:14Yes.
30:19Can you explain to me, but now,
30:21who the hell is going to marry who
30:23in the Montes Aquilianos,
30:25those that I don't know anything about?
30:30Yes.
30:41How is the atmosphere, Teresa?
30:43Well, at the moment I don't see any uproars.
30:46Hey, you shouldn't have gone to the square.
30:49I wanted to check that there was no uproar
30:51at the doors of the place.
30:53But yes, yes, we are about to leave, yes.
30:57I haven't seen your nieces yet.
30:58It's just that in the end they are going to come.
31:00Inés finds something annoying again from the throat
31:03and her sister prefers to stay with her to take care of her.
31:06So we'll have to go, Mrs. Lázaro and I alone.
31:10Well, it seems that the demonstration will be quiet.
31:14In the end, everyone gets used to one, right?
31:16Yes, everyone gets used to one.
31:18Well, I'm going to the office, I'll fix a couple of things and I'm leaving.
31:23Very well.
31:32Good morning, Teresa.
31:33Good morning.
31:42Agustín, thank you for coming, I got you out of work.
31:47No, no, don't worry, I had already canceled the first session.
31:51I don't trust this demonstration.
31:54Why are you whispering?
31:56Well, it's better if I don't force my voice.
31:59Well, it's also better if you don't exaggerate.
32:02How are you?
32:04Well, instead of going on a trip, I had to stay to take care of the dying one, but fine.
32:10It's just that I have a terrible throat.
32:12I went too far with the exercises and on top of that I went out at night.
32:16But what did the doctor say?
32:18No, the doctor didn't say anything.
32:20She has diagnosed herself and has decided that she has no cure and that she might die from it.
32:24And really, this is going too far.
32:27Well, now the best thing is for her to see the specialist and that's it.
32:30No, but I already know what she's going to tell me.
32:32That everything we had achieved, I ruined it all at once.
32:35And it's really all my fault, I'm an idiot.
32:38No, no, no, it's neither your fault nor are you an idiot.
32:42You are a person with a lot of talent who is wanting to exercise it.
32:47And that honors you.
32:48So, please, trust what the doctor is going to tell you.
32:52Surely it won't be anything serious.
32:55Thank you for your patience, Agustín. I'm very lucky.
32:58Luck, not talent.
33:00You have an art that can't be lost.
33:03God won't allow it.
33:05Anyway, I'm leaving. I don't trust that these exalted people won't break my Marquesina.
33:09I'm leaving too. I want to talk to my uncle before he leaves.
33:13Have a good trip.
33:14Bye.
33:15Bye.
33:18Agustina treats my sister so well.
33:23Laura, we have to talk.
33:28Estrellita Castro asked me to be her photographer.
33:33That's great. Congratulations.
33:35Wait, wait. I'm not finished.
33:39She asked me to be her photographer during her tour in Germany.
33:44In Germany?
33:45Yes.
33:46But you have a business here in Madrid.
33:49Yes, but this would open many doors for me.
33:53Both in Spain and abroad.
33:55And I would be known as an artist.
33:57Ah, well, that's great. I'm glad.
34:00And what about me?
34:02It's a unique opportunity in life.
34:04Well, I should have thought about it before dragging me into opening a business here, right?
34:14I haven't dragged you into anything.
34:17I thought you were excited to open a business with me.
34:21Of course I'm excited.
34:23It looks like you're the one who's not excited.
34:25That you're going for the first time.
34:26It's not the first time. It's not the first time.
34:29If I get the chance to work with an internationally renowned artist, what do I do?
34:33I reject her.
34:35Besides, it will only be a few weeks.
34:38Yes, of course. First, it will be a few weeks.
34:40And then it will be a few months.
34:41And meanwhile, I'm here with the damn store alone.
34:44Don't talk to me in that tone, please. I'm begging you.
34:46What tone, Celia?
34:47You're the one who's been talking to me for a few days in a way that doesn't...
34:50What way am I talking to you?
34:52Don't be silly.
34:53Yes, since I told you that I had kissed Agustín,
34:56you look at me differently and you talk to me differently.
35:01Celia, do you like Agustín?
35:03What are you saying? What are you saying?
35:06I'm telling you something that is very important to me.
35:09And you, instead of being happy, you treat me like this.
35:12You're selfish.
35:31Can you tell me what all this fuss is about?
35:33I don't know, Mr. Fermin.
35:34This has been seen and not seen.
35:36Two minutes ago it wasn't like this.
35:37I don't want anything to happen.
35:38A barking dog with little bite.
35:40I'm afraid you're wrong, Mrs. Lázara.
35:41The authorities will have acted on the street and these people
35:44have come to take refuge in our gallery.
35:46And it looks like they're going to destroy everything.
35:48Teresa, I'm warning you that we're closing down the place.
35:50Don't charge anyone.
35:51I want to see a vacuum of customers as soon as possible.
35:54Very well.
35:55Mrs. Lázara, come with me to close the door, please.
36:01Well, no.
36:02I don't think it's fair for you to tell me that I'm selfish.
36:04Well, I'm going to tell you something else.
36:07Jesus, what's going on?
36:08The demonstration.
36:09Laura.
36:11What are you doing?
36:12Where are you going?
36:13To do my job.
36:14No, Seria.
36:15These people are very dangerous.
36:16Don't leave me, Laura, please.
36:17No.
36:18Let's see if something's going to happen to you.
36:19No.
36:20No.
36:21Let me go.
36:22You're nobody to tell me what I have to do.
36:40Where are you going with that face?
36:42I'm going out.
36:43No way.
36:44Those appearances of yours at Matilde's house are over.
36:47God knows what Fabio could do if he finds out that you've been there.
36:51I'm not going to Matilde's house.
36:53Oh, and you expect me to believe you?
36:55Honestly, I don't care if you believe me or not.
36:57Get out of here.
36:58And if you're not going to Matilde's house, where are you going to go?
37:00It's none of your business.
37:02Come on, take off that damn wig and come with me.
37:05No.
37:07You're not going out.
37:08And I don't want to have this argument with you again.
37:11Mother, I'm not going to deny that it's dangerous for you to go out,
37:15but more dangerous is for me to stay here.
37:18I'll end up going crazy or worse.
37:20I'll end up setting this house on fire.
37:22So let me out.
37:23No.
37:28No.
37:29You know...
37:30Either let me out or I'll destroy the house.
37:33Let me out.
37:34No.
37:35I'll destroy the house.
37:36Leave that, it costs a fortune.
37:38Give it to me.
37:39Give it to me.
37:43Get out of here.
37:45Be careful.
37:47Do whatever you want.
37:56Get out of here.
37:57Get out of here.
37:58We've called the police.
37:59Get out of here.
38:00Go somewhere else.
38:01Get out of here.
38:03Well, what's wrong with these people?
38:05Get out of here.
38:17Watch out for me.
38:18Agustín.
38:20Mr. Fermín, is everyone okay?
38:21Yes, yes, I'm fine, but I don't know how we're getting out of here.
38:24Laura is still in the shop.
38:25Yes, yes, I hope she doesn't get out of there.
38:27I'm going to check here.
38:28Open me, open me.
38:29Agustín, please.
38:30Come on, let's go.
38:34Come on, let's go.
38:50Come on, let's go.
38:53Come on, let's go.
38:56Come on!
39:00Come on, let's go.
39:07Come on, let's go.
39:10Come on, let's go.
39:13Open the door!
39:16Help!
39:19Laura, inside.
39:22Open the door!
39:27To the office!
39:30Let's go, let's go.
39:35They've left the terrace.
39:38Are you okay?
39:39Yes, yes.
39:49Come in.
39:53Ah, it's you.
40:00I thought it was Pietro. He's not here. He's gone to, how do you say it in Spanish? Manifestaciones?
40:06Manifestación. Yes, it's okay. He knows how to take care of himself.
40:13Can we talk for a moment?
40:14Yes, of course.
40:16Do you want to go to Chicoria?
40:18Pietro has told me that he intends to stay in Madrid. To live.
40:23Antonia, I...
40:24I'm done.
40:26You own to feel for Pietro whatever you want him to feel. I don't get involved there.
40:33Of course, I understand that he loves him.
40:38I love him too.
40:41But he loves me.
40:44Do you understand?
40:47And understand that I'm going to defend that love with everything I have.
40:52Is it clear?
40:54I understand.
40:56I wanted it to be clear so that it wouldn't cause confusion.
41:01Here in Spain we say that whoever warns is not a traitor, so...
41:06It's been warned.
41:09Anything to say?
41:11Yes. Thank you for the warning.
41:23Hello.
41:26I've checked the inventory.
41:30I've made the orders.
41:33And I don't have to go back to Madrid, cabaret.
41:36I've checked the inventory.
41:39I've made the orders.
41:42And I don't have to go back to Madrid, cabaret.
41:56Are we still like this?
41:59Matilde, how long is this going to last?
42:01It's the third time you've denied me a kiss.
42:03I left dinner ready in the kitchen.
42:05I'm not hungry.
42:06Are you not feeling well?
42:08No, I'm just tired.
42:09That's all.
42:12I thought we could go out to eat.
42:16Take the car and go up to the coast of the wastelands.
42:21Do whatever you want.
42:23I'm not in the mood to go out.
42:30You're not in the mood to go out.
42:32You're not in the mood to smile or give me a kiss.
42:35No. No, I'm not.
42:38What do you want me to do? This is how I feel.
42:40If you want, I'll hide it to make you feel better.
42:42I'm not saying that.
42:44I've asked you for forgiveness for being active and passive.
42:48Yes, it's true.
42:49You've done it.
42:51But it's not enough.
42:54Matilde, what do you want me to do?
42:57Believe in me, Inigo.
42:59Trust me.
43:01Consult with me the decisions that compromise my future.
43:07My love, I believe in you.
43:08Yes.
43:10Now.
43:11Now, when it is indisputable that I was right and that I had not invented anything.
43:16Now it is very easy to believe in me.
43:19But I want you to have faith in me when things are not so clear.
43:23You're right.
43:24Dr. Mendoza convinced me.
43:27And I shouldn't have let it happen.
43:28No.
43:29No, you shouldn't have done it.
43:32But now it's too late to fix it with an apology.
43:35Matilde, please, don't dramatize.
43:39Don't dramatize?
43:42Look, Inigo, when Marta had already uncovered all the deception,
43:44when it was already known that Brígida was an actress,
43:47then you had to go talk to her to make sure.
43:50Put yourself in my place. How do you want me to feel?
43:53But when...
43:54Look, it doesn't matter. It doesn't matter.
43:56If we keep arguing, we'll end up angry
43:58and saying things we don't deserve.
44:01You're right.
44:03We'd better forget about the mistakes of the past and move on.
44:10I think it's too late for that.
44:16I only see one solution.
44:23To break up.
44:28You can't.
44:30You can't be serious.
44:34It's what I need and I ask you to please accept it.
44:45Where did you go?
44:47Carla, don't play dumb.
44:48Where did you go?
44:50What's the big deal?
44:51Nobody saw me.
44:53Well, they did, but nobody recognized me.
44:56That's what matters.
44:57Do you really think we can stay together after everything that's happened?
45:01You can.
45:03I'm serious.
45:06Leave her on the couch.
45:09Thank you for welcoming us, Antonia.
45:11I know it's a bad time for you and for that woman walking around.
45:16Don't worry.
45:17You can stay as long as you need.
45:19You're a saint.
45:20I'm not a saint. I'm a friend.
45:22Like my uncle said, you have to be careful.
45:24We have to keep an eye on you in case you get dizzy or lose consciousness.
45:28Sure, in case you have an edema.
45:31Yes, that's an edema.
45:32And that sometimes takes a couple of days to go away.
45:35I understand that being dependent on such a fine place is great.
45:38That it's better than cleaning stairs or being the babysitter of a spoiled brat.
45:42But look how you look now.
45:44Yes, I know.
45:45Matilde was the man you chose, the one you married,
45:49because you love him and because he loves you.
45:52And a marriage is for life.
45:54Mr. Fermin!
45:55Good morning.
45:57Mrs. Alafra.
45:58Yes.
46:01Well, what is this?
46:03Thank you, thank you.
46:04But it's okay.
46:07It's true that I made it with a lot of love.
46:13What's wrong?
46:14I think Pietro is suffering a lot with this situation.
46:17Poor Pietro.
46:18Two women behind him.
46:19I'd rather see him.
46:20Taking advantage of the fact that Miguel is not here.
46:22Leave the door open.
46:24We're both going to be alone, right?
46:26I'll leave the door open.
46:27There would be more.
46:28But don't think anything strange.
46:30I just want to give you a gift.
46:32A gift?
46:33But it's not my birthday.
46:35I wanted to discuss with you if you have a minute
46:38about the sale of the galleries in the gallery.
46:40Wow, so we're in the hands of the heir.
46:44May God ask us to be confessed.
46:47Maybe it seems a little strange to you,
46:48but would you mind going to talk to Maria Cristina?
46:52Maria Cristina?
46:54The ex-partner of Mrs. Lazar in the warehouses?
46:57That same.
46:58And me for what?
46:59Mrs. Bárbara has rejected her purchase offer.
47:01But ...
47:03If we have not yet made an offer.
47:05I'm sorry, Mrs. Bárbara has the character she has.
47:08Well, worse is yours.
47:10That those beasts almost pass you over.
47:13Thank goodness Agustín is here.
47:15But how do you know so many things?
47:17You look like a university professor.
47:19Hey, why do I miss you?
47:21I may be poor, but I have a good head.
47:23And I try to use it for something more than to comb.
47:25It shows, it shows.
47:27Help!
47:28Help, Pietro!
47:30Pietro!
47:31Don't worry.
47:32I thought you were coming later for your things.
47:35Yes, I wanted to come back before Clarita went to bed.
47:38If you want, I can help you get the suitcase down.
47:40If you're going to try to convince me to stay ...
47:42No, no, no, I don't want to talk to you about that.