Salón de té La Moderna - Ep 223
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00:00A FEW HOURS LATER
00:21Here it is. I've been looking for it.
00:23Master, you should go back to the worker and hurry up.
00:26I don't know what's going on, but the Swiss are selling like hotcakes.
00:29And the Roquillas are like hotcakes, but the Swiss are not.
00:32I can't go any faster, Elias. I have two hands.
00:35Two.
00:37Well, fine, but don't kill the messenger.
00:40It looks like you got up today with your foot changed.
00:42Sorry, you're right.
00:45I'm not very happy.
00:48Well, that wouldn't happen to you if you had come with us yesterday
00:51to Trini and Miguel's farewell.
00:53We had a great time.
00:55Well, we miss Antonio and you a lot.
00:58Why did you come?
00:59I'm not in the mood for a party.
01:01With everything I have going on at home.
01:03Well, you can be fat now.
01:04Because to miss your colleagues' farewell,
01:06that doesn't happen every day, man.
01:08Yes, it does.
01:09It's very fat.
01:11Because of Lucia, I'm going to lose Antonio.
01:14I'm sure it's not that bad, Master.
01:16Yes, it is.
01:17Antonio doesn't even want to see me
01:19since he found out that Lucia wants to stay here in Spain.
01:22He was already doing quite badly,
01:24that he stayed for a few days. Imagine now.
01:26It's the same if you're upset and it's not that bad.
01:29You just have to look at the positive side of the matter.
01:32The positive side?
01:33What? That I'm going to lose my head?
01:35You shouldn't.
01:36Think about it.
01:37Now you have two women.
01:38One upstairs and one downstairs.
01:40If you get angry with one, you'll see the other.
01:42Happiness is a stretch of stairs.
01:45Well, I was just trying to cheer you up, Master.
01:48As always.
01:49Cheer up, man.
01:50Sorry.
01:51Pietro, I got this for you.
01:54And why do you want it?
01:55To give it to Trini and Miguel.
01:57They're going to El Bierzo to get married today.
02:00And they're not going to crown the cake with a stolen song.
02:03These are the ones who were going to put on their wedding, right?
02:06Yes.
02:08That's why I'm asking you to bring it back to me, please.
02:11When you've used it.
02:13And why do you want it?
02:15Your wedding with Antonia is getting more difficult
02:17than the port of Navasterrada.
02:20If things have been twisted,
02:21it doesn't mean that we can't get married at the moment, right?
02:24Twisted, twisted, Master.
02:27It's more like a skewer.
02:29The thing.
02:30Let's see, you're being very positive
02:32and that you'll surely get married.
02:33But right now you're being a little delusional.
02:35A little bit, yes.
02:36Or not.
02:37A lot.
02:38And so much.
02:39I thought you were taking that idea out of my head.
02:42No.
02:43I'm not going to do it.
02:44And I don't want to do it.
02:47As soon as Lucia leaves for Italy,
02:49we'll resume our wedding plans.
02:52But you just said, Master,
02:54that it's not your idea.
02:55Come on, Lucia isn't leaving.
02:57I don't think those women will let him go
02:59even if he comes to get that douche that they send to Italy.
03:01Let's see, the problem right now
03:03isn't whether Lucia leaves or not.
03:05The problem is how long
03:08Antonia will last without Vivi.
03:10I don't think much longer.
03:13Yesterday she gave me the points to blow, that's how it is.
03:16Well, don't be lazy and move chips.
03:19You're losing the game, man.
03:22You're losing the game.
03:27Montero.
03:29Take this to table 2 on the terrace, please.
03:44How's your day, partner?
03:46It's back to normal.
03:49I'm a little worried.
03:51Why? We're working like clockwork.
03:53Look, almost all the tables are occupied
03:55and we don't stop selling sweets.
03:57Yes, everything is fine, but the boss isn't here.
03:59And look at the time.
04:00She should be here by now.
04:02That's strange.
04:03Mr. Fermin has never been late.
04:06I don't know.
04:07I've been thinking if it has anything to do
04:09with what Elías told us.
04:11That he should leave with Mrs. Gazza.
04:15That does give me a bad feeling.
04:18Inés,
04:19do you know where your uncle is?
04:21I need to talk to him.
04:22I haven't seen him all morning.
04:24Me neither, to be honest.
04:27That's strange.
04:28Wouldn't he have a meeting out of the office?
04:31I don't know.
04:33But he'll be here, I guess.
04:35I'm sure he will.
04:39This is weird.
04:42Lucia, please.
04:43Check this for me.
04:46Look, I don't know.
04:48I think something's going on here.
04:50It's not good.
04:52Don't get upset.
04:54Maybe she's meeting a friend
04:56and they're having a chat.
04:58Yes.
04:59Or maybe Mrs. Lazara has caused trouble again.
05:01Maybe she's made up a story
05:03to justify her previous job.
05:05Well, she has every right to tell her version
05:09of what happened with the client.
05:11Are you really taking her side again?
05:14I'm not taking anyone's side, Teresa.
05:17Besides, Mr. Fermin is old enough to know
05:19what's a lie and what's the truth.
05:21You think so?
05:22Because that woman has bad habits.
05:24I'm sure of it.
05:26You'll see, no matter how much I tell Mrs. Lazara,
05:28she won't find out.
05:30There's nothing to worry about.
05:40Modern Television.
05:42Good morning, Teresa. This is Mr. Fermin.
05:44Tell my niece to pick up my messages today.
05:46I don't know what time I'll get to the office.
05:50Is everything okay, Mr. Fermin?
05:52Do you need anything else?
05:53No, no, no.
05:54She just has to give the message to Inés.
05:56Thank you very much. Goodbye.
05:57Goodbye.
06:00Wait, Mr. Fermin.
06:01What did she say?
06:02She doesn't know when Modern Television will come.
06:04But she was very upset.
06:07I think you're wrong.
06:09Mrs. Lazara will do what she always does.
06:11You'll see.
06:15I think it's great.
06:17Yes, yes, if she's in that house, we'll find out.
06:22You've done a good job.
06:24Goodbye.
06:25Goodbye. Congratulations.
06:28Who were you talking to?
06:30I was talking to Jacobo.
06:32He's given me great news.
06:33What is it about?
06:35Well, he's been able to rent a room
06:37in a house that's in front of Carla's palace.
06:40It wouldn't have been easy to get him to rent it right there.
06:43No, but Jacobo is a resourceful man.
06:45And he told the housekeeper that he was an artist
06:47and that he was in love with the views from that room
06:50and that he wanted to paint it in his next painting.
06:53So he can control who comes in and who leaves.
06:56Totally.
06:58From that room you can see the main door,
07:00the service door, the garden,
07:03the living room.
07:04So if Carla moves around the house or leaves it,
07:06we'll have to see her by force.
07:08That's right.
07:09We just have to be patient.
07:10Perfect.
07:11Perfect.
07:12I'm going to make some food for Jacobo.
07:14Yes, well, I have to go to Madrid Cabaret.
07:16I have to finish the last details of tonight's party.
07:19I want everything to go very well
07:21for Mr. Marcial Lalanda.
07:24Everything will go well, Inigo.
07:26Besides, I talked to Fernando Delgado
07:28and the journalist is delighted to organize a surprise party for the bullfighter.
07:31And the actress? Will she be able to come?
07:33Carmen Bianze?
07:34Yes.
07:35Yes.
07:36Delgado gave me his phone number, he talked to her
07:39and he told me he's happy to come to the party.
07:42The party tonight at Madrid Cabaret?
07:45I'd like you to come.
07:47It will be good for us to distract ourselves.
07:49I'll try.
07:50But first I have to ask Clarita
07:52if she thinks it's okay to sleep at her friend Susana's house.
07:55At her friend Susana's house?
07:57Well, of course she's going to like it.
08:00The truth is that she seems happier these days, right?
08:04Yes, she seems different.
08:05It's because of her new friend, Lara,
08:07who seems to be a good influence for her.
08:11But we don't know her in person.
08:13Yes, but I proposed to Clarita to invite her to have a snack.
08:15That's how we face her.
08:17The truth is that I am very glad that Clarita
08:20is gradually overcoming the loss of your mother.
08:25At least I'm not going to talk about her.
08:27Today she was telling me that she misses her a lot.
08:30That she talks about that is a good sign.
08:32Yes.
08:33And that means that little by little she is overcoming the trauma.
08:37I'm sure that from now on we are doing better.
08:40The three of us, you'll see.
08:42Especially if we manage to discover Carla.
08:44I don't see the time to unmask her.
08:46My love, I promise you that it will be very soon.
08:50And we will discover the truth of all this.
08:54And only then can we be completely happy.
09:03A YEAR LATER
09:13Can you stop moving? Can't you let me read?
09:15I can't. I'm nervous.
09:17Well, if you want to take a walk, you go to the modern and you take a straw, man.
09:20Didn't your father tell you if he was going to come and say goodbye to me
09:23before I supposedly go to the cradle?
09:26No, I don't think so.
09:28He told me to come by tomorrow, so you can say goodbye.
09:31I'm fired.
09:33He fired me. I'm on the street. I knew it. I knew it.
09:36Stop. Stop.
09:38He can't come today to say goodbye to you.
09:40He had urgent matters.
09:42Well, let's see if you speak more clearly, my heart has stopped.
09:44You can be calm. For now.
09:47No, I won't be able to breathe well until all this is over.
09:50There's less left.
09:52And you don't mess it up while I'm away.
09:54You know that everything has to be in order and without gaps between books.
09:58And let's see if you sell me the two copies that are left of the Divine Comedy,
10:01which are going to be great.
10:03You can rest assured that I'm going to be here all day and part of the night
10:06that I've thought of organizing some cards with my friends.
10:10Don't even think about it.
10:12What do you want? To end up in jail and with the business closed.
10:14I don't think they'll take anyone to the gallows for playing cards.
10:17Salvita.
10:18What a joke.
10:21As soon as I close the bookshop, I'm running home.
10:24Or you start cleaning the warehouse.
10:26I'm going to leave that to you.
10:28So that when you come with energy and strength after your trip...
10:33Nowhere.
10:34Very funny.
10:35I'm going to hand out the press.
10:36See?
10:40Hello.
10:41Hello.
10:43Do you know anything about Don Salvador?
10:45Well, no. And I don't know if that's good or bad, but it looks very bad.
10:49I swear I don't see the time to get home and disappear for a few days.
10:54What a plan.
10:55We never go on vacation and for once we don't have to work,
10:58we have to stay locked up all the time.
11:01Well, I really want to be resting at home for a few days
11:04and I'm not going to move an inch.
11:06After yesterday's party, I'm exhausted.
11:08Ah, before going home, we have to go to El Colmado to buy supplies.
11:13Yes, of course.
11:14What a couple.
11:15Do you have everything ready?
11:16Well, we were reviewing all the details.
11:20And Leonora is going with you to El Bierzo?
11:23Well, no, I don't think so.
11:26I don't think so because it just coincides with a spiritual retreat.
11:31Well, she does have to be a devotee to miss her daughter's wedding for a few prayers.
11:35My mother-in-law loves to tell you that she goes to mass every day and on Sundays twice.
11:39Ah, well. And where do I take the wedding gift?
11:45Well, bring it here.
11:47Here? No, I'd rather take it to your house.
11:49Where are you going to live?
11:50In my house.
11:51Or in yours.
11:53We don't agree. You already know Miguel, he's very stubborn.
11:57We'll see.
11:58I can't believe it. You don't know where you're going to live?
12:02We like to improvise and go a little on the march.
12:06Well, when you have a son, wait for him to serve in the military to give him a name.
12:11What a mess.
12:12Well, when you know, tell me. I already have the gift in charge.
12:17Goodbye.
12:21How many times are they going to be about to discover us?
12:24I don't know when this torture is going to end.
12:27I think we're stupid.
12:35Mother, when are you going to tell the servant to leave?
12:39I'm looking forward to going up to the living room.
12:42Later. It's not noon yet, daughter.
12:46And this hat?
12:51I don't know. It was around here.
12:54You have to think of something so you can go up before.
12:57I drown between these four walls.
13:00I know. But right now you can't go up.
13:03Fabio has told me he's going to stop by the house.
13:05And it's not a good idea for him to see you.
13:08Besides, at this point he'll think you're on your way to America and not here playing a loner.
13:13I'm tired of hearing about that man.
13:16Well, not having broken the agreement we had with him.
13:19If you stay here, it puts us both in danger.
13:24It seems to me that you take him too seriously.
13:28Fabio is nothing more than a dog that barks a lot but bites little.
13:31He's harmless.
13:34And this stamp?
13:36Have you become a believer now?
13:38Yes, mother.
13:39I'm taking refuge in faith.
13:43All your problems would end if you entered a convent of clause, don't you think?
13:48Biting her.
13:49Sounds pretty good.
13:51It's not funny at all.
13:53Of course not.
13:59What are you doing here?
14:01Why did you come down?
14:04I wanted to check what I suspected.
14:07How long did you think you could fool me?
14:10We would never dare to do something like that.
14:13The plan goes on. Carla is going to leave.
14:16That's not what I'm seeing. Do you take me for an idiot?
14:19No.
14:21It's just a little delay.
14:23We have postponed the date of the trip.
14:25And can you tell me why?
14:28Carla has to close a matter before leaving.
14:31But it has nothing to do with Matilde, I guarantee it.
14:34No, I can't keep listening to so much story.
14:36I don't believe a single word anymore.
14:40Don't leave me another option. I'm going to call the police.
14:43Yes, go, go.
14:44Let's see how he tells everyone without affecting him.
14:48What do I care?
14:50I don't care what happens to me.
14:52At this point, all I want is for the whole truth to be known.
14:56Really? And you plan to throw away your political career?
15:00I already did that when I agreed to participate in this farce.
15:04Every day I spend covering you is an attack on my honorability.
15:08But that's over.
15:09Really?
15:10Why don't we all calm down a bit?
15:14It's better that we don't make decisions that we can regret later.
15:18No, I'm very sure of what I have to do.
15:20And I'm not going to argue with you.
15:23But why discover us if there is so little time left for all this to end?
15:29It's just a little delay.
15:31I guarantee you that Carla is going to leave the trip.
15:36If we haven't told you anything, it's because we haven't given her the importance she had.
15:41What can a couple of days mean?
15:44You should have consulted me or at least kept me informed.
15:48I know. And I know I've done wrong.
15:51I'm sorry.
15:54And I swear we're going to do what we promised you.
15:59I swear on my honor.
16:02For the feelings that unite us.
16:04Trust me, I'm not going to let you down.
16:06I'm not going to let you down.
16:09If Carla doesn't leave this week, I'll bring the police here myself.
16:17Fabio, wait for me.
16:29Oh, were you studying?
16:31Well, I was taking advantage of the time Esperanza gave me.
16:34I wanted something.
16:36Well, no, if you're with the books...
16:39Well, I can study later.
16:42Besides, by his face he seems to be a bit fat.
16:47He wants us to talk about Pietro.
16:50Well, I don't want to bore you with my problems, but...
16:53Someone has to realize how tired I am of that Italian demon.
16:57It's normal, since he came to La Correra you haven't had a moment of peace.
17:01What I see and carry is that he has it eating from his hand.
17:04If that man had a little more guts...
17:07Well, I think he was a bit caught off guard when he introduced himself to Lucia.
17:11And now, well, he doesn't know how to act.
17:13If he has it dominated from head to toe.
17:15That woman introduces herself in our lives, annoys us at the wedding.
17:18She gets into Pietro's house and now she says that they don't even throw hot water at her.
17:21Do you believe that?
17:22No, yes, it's worse, yes.
17:24Worse than a plague of chintzes, but...
17:26At least Pietro would react.
17:28He's more uptight than Spartero's tattoos.
17:30Spartero's tattoos?
17:31No, of course.
17:32If he had the same problem with this than with the cakes, Lucia was already in her land.
17:37I'll tell you something, Marta.
17:39If Pietro doesn't decide, I'll knock on his door and I'll go on with my life.
17:44I've already told you that.
17:46Well, Antonia, I think he's decided.
17:48And more than enough.
17:50What happens is that, well, it's a tricky situation.
17:53Well, what I was missing.
17:54You're going to do your part.
17:56No, Antonia, it's not doing my part.
17:58But try to understand.
17:59It's not a normal situation.
18:01Normally, widows' wives don't usually show up at their husbands' second weddings.
18:07I know, Marta.
18:09Believe me, I know.
18:10And that's why I've been patient, very patient.
18:12But everything has its limit.
18:14I'm going to confess something else to you, Marta.
18:20I think he feels something more for her than he wants to admit.
18:24Well, I think you're wrong there.
18:26Then why don't you kick her out of the house?
18:30Marta, I'm telling you from the bottom of my heart.
18:34Women always want more than men.
18:37And if a man is telling you that he doesn't know if he wants to be with you or not,
18:43it's better to knock on his door and I'll go on with my life.
18:48Well, I'd have to do the same with Salvita.
18:52Although now he says he's going to defend me in front of his father, but...
18:55I think I'm more afraid of him than I am of myself.
19:02Well, you know what you have to do, honey.
19:07I have to go, I have to work.
19:18Is your sister going to come and eat?
19:20No, normally she eats the modern one.
19:23Well, I would have liked to see her to chat with her for a while.
19:29Are you worried about her first performance after the accident?
19:33Well, the performance is going to be at the Madrid Cabaret,
19:37and that's where I saw Lejía and witnessed the shooting.
19:41I'm afraid that when she gets on stage, she'll get stuck.
19:44My sister is a very strong woman, but this is the first time I've seen her like this.
19:49She's very strong, but it's true that what happened there marked her.
19:53Well, she and everyone else was about to lose their lives.
19:57Yes, if it weren't enough, César, the manager of the restaurant,
20:00was involved in the events and my sister was very in love with him.
20:04He had to disappear, didn't he?
20:07Yes, because his former bosses were chasing him, the Marseille mafia,
20:11and the police were also looking for him.
20:12It's clear that your sister likes ordinary people.
20:20It's true that the Balbuena sisters have never had a very good eye for men.
20:25Except now.
20:29Thank goodness.
20:31I thought you were going to put me in the bad guys' lot.
20:36Well, don't get carried away,
20:38but you're the best suitor we've had in the Balbuena sisters.
20:42Wow.
20:44That's why my uncle is so in love with you.
20:47Let's see, I think your uncle is very good,
20:52but I thought, in fact I think,
20:55that you would be the one who should be in love with me, right?
20:59Well, let's say I can't complain.
21:03Just that?
21:05The truth is that I'm more and more comfortable with you.
21:09Cheers.
21:12I've had a hard time convincing you, but I think in the end,
21:16it was worth it.
21:18Yes.
21:21Are you going to Madrid Cabaret tonight?
21:24I think we can have a great time with Marcial Alhambra.
21:27Well, in fact, I wanted to go, but especially to talk to Don Íñigo.
21:32I want to close some details of Inés' performance.
21:35Okay, but don't spend all night working, I want to dance with you.
21:38Let's see.
21:39Two minutes for Don Íñigo and the rest of the time for you.
21:44Do you think it's a good deal, Miss Laura?
21:49I think I can accept it.
22:01Francisco.
22:03Man, I came to say goodbye.
22:05Well, and to thank you for yesterday's party.
22:07We had a fabulous time.
22:09The truth is that yes, friend.
22:11Look, Miguel, just to see the scared face you put on.
22:14When you saw the appearance of Miranda's big shoulder,
22:17that justifies all night.
22:19Yes, yes, it was a good joke.
22:22Are you ready?
22:24Yes. Well, let's see, I left a little earlier with the excuse of having to go
22:27to take the bus to Ponferrada.
22:29I've also left Salvita in charge of the bookstore.
22:32Well, let's go now, let's see if we're lucky not to find anyone
22:34and so we don't have to say goodbye.
22:35Yes, yes, the less Jalisco is formed, the better.
22:38Well, nothing, have a good rest day.
22:41And remember, don't even look at the street.
22:44We're not going to look through the windows.
22:46Let's see if it's true.
22:54Where are you going?
22:56Did you think we weren't going to notice or what?
22:59What is that about leaving without saying anything?
23:02Well, it was not to make a fuss.
23:05One thing is to be discreet and another is to want to deceive us.
23:14Long live the bride and groom!
23:16Long live!
23:20What a beautiful woman!
23:22You're going to be a beautiful bride.
23:24What a shame, I couldn't go.
23:26Yes, I'm sorry I missed yesterday.
23:28You said goodbye to the bachelor, but I didn't have the body to ...
23:30Don't worry, for me it's as if you had everything.
23:32Well, take this.
23:33Pietro has left it for me so that I can put it on top of the cake.
23:36But you have to bring it back,
23:38because then he has to use it with Antonia.
23:40We'll see.
23:42Well, just in case, bring it back.
23:51What's wrong?
23:53Well, I got a little emotional.
23:55I must be soft.
23:57Love is what you have, that softens us all, Teresa.
24:00Long live the bride and groom!
24:01Long live the bride and groom!
24:06Long live the bride and groom!
24:23I thank you for inviting me to dinner.
24:25At least I've had the opportunity to tell you my version of the facts.
24:28It was fair.
24:30You had the right to tell what happened from your point of view.
24:34I suppose my story has nothing to do with what I told Teresa.
24:38Very little.
24:40It doesn't surprise me.
24:42She told you what an independent,
24:44lazy and resentful woman told her,
24:46who all she wants is to ruin my reputation.
24:48And all that for what?
24:50So much inclination towards you.
24:52It's my fault for losing your job.
24:54That's why I didn't hesitate to tell you such a biased version of the facts, Teresa.
24:57Not so biased in essence.
24:59Look, it's true that there was an accident.
25:02It's true that the employee who suffered it was under my orders.
25:05And it's also true that we were all overcome by the excess of work we had.
25:10And you didn't pressure her more than necessary?
25:12Not at all.
25:14I wasn't the one who decided the working hours of the employees,
25:17or whether they should take turns or not.
25:19That was an exclusive decision of the company's management.
25:22You only followed orders?
25:24Yes, and that was my mistake.
25:26I didn't question what they told me.
25:29I ruined that girl's life,
25:31just because I didn't know how to impose myself.
25:37Cañete and Teresa
25:39claim that you are the only one responsible for that employee
25:42ending up inside the boiler room.
25:44It's a lie.
25:46We all make mistakes, and I take responsibility for mine.
25:48But the company was truly responsible,
25:50and I am their leader.
25:52Explain that to me, please.
25:54It's very simple.
25:56They couldn't afford
25:58to have bad publicity from the warehouses.
26:03That's why they looked for a culprit.
26:05Did you choose her?
26:07Yes.
26:09When the girl's family
26:12reported them,
26:14my former bosses reached an economic agreement with them.
26:17But it wasn't enough,
26:19and that's why they fired me in such an unfair way.
26:24I don't know.
26:26I don't want to believe Mrs. Lázara.
26:28She should have told me all this much earlier
26:30and not let me be found out by third parties.
26:33Mr. Fermín, I understand that this is very difficult to assimilate, but...
26:37And also very difficult to forget.
26:39Mr. Fermín, believe me when I tell you
26:41that I think about that girl every day.
26:45And I'm very sorry
26:47that I didn't know how to impose myself
26:49on the demands of the company.
26:51If it weren't for me,
26:53that girl would have a life, a family.
26:54And I don't know what else to tell her.
27:02I understand that you still have doubts about my word.
27:06All I ask is
27:08that you try to regain
27:11the trust I have in you.
27:16If you'll excuse me, Mrs. Lázara,
27:18I have to go back to work.
27:24Bye.
27:32Yes, I have to admit that the food was very good.
27:35I give you my approval as a cook.
27:37I hope you don't just love me for my cooking,
27:39because I have other qualities.
27:41Yes? Well, we'll find out later.
27:44Hello, uncle. How are you?
27:47Fine.
27:49Well, I still see you very serious.
27:51Serious? No, nothing.
27:52I'm thinking about something,
27:54but nothing to worry about, I think.
27:56Well, I hope so.
27:59Laura, it's good to see you.
28:01Marcial Alanda is about to arrive.
28:03I'd like to say hello personally.
28:05We've known each other for a long time.
28:07I don't think you have to wait long.
28:09He's on his way.
28:11We're going to have a great time tonight, you'll see.
28:18Mr. Marcial, it's a pleasure to see you
28:20both here and in El Coso.
28:22A pleasure is mine, Mr. Fermin.
28:24Let me introduce you to Agustín Comas,
28:26theater producer.
28:28My niece, Laurita Balbuena.
28:30And his partner, Celia Silva,
28:32in charge of the photographic report.
28:34A pleasure.
28:36If you're so kind as to join me,
28:38we'll start with the session.
28:40Of course, my pleasure.
28:42Mr. Marcial, I have some sweets for you
28:44that you like so much.
28:46It's the least I can do for the afternoons
28:48that El Coso brings to the fans.
28:54Oh, my God.
28:56Even when he walks,
28:58he's got a bull's-eye.
29:00There he goes.
29:02The first in the escalator.
29:04Well, in competition with Domingo Ortega,
29:06who's no fool either.
29:08Agustín, we're martial artists in this house.
29:10Even the marrow.
29:12Well, there's no need to argue.
29:14The important thing is that we have Marcial Lalanda with us.
29:16Be it better or worse than the other.
29:18You're right, Laurita.
29:20We're doing the gallery in this city.
29:22It's a shame if Celia goes to Germany.
29:24Because she'll be left without the claim
29:26that her initiatives have.
29:28Germany?
29:30It's the first news I have about it.
29:32Estrellita Castro has offered to go on tour
29:34to Germany with her
29:36to be her personal photographer.
29:38And when were you going to tell me?
29:40Well, I'm telling you now.
29:42I'm going to help Celia.
29:44I'll talk to you later.
29:47Domingo Ortega.
29:48Domingo Ortega, Don Fermin.
29:50Domingo Ortega.
29:56I think, Trini, we've gone too far.
29:58There's food here to put up with a medieval siege.
30:02Well, we can't put a foot in the street.
30:06Besides, I eat for two.
30:08The more, the better.
30:10Yeah, but three dozen eggs seem too much to me.
30:12Well, if I feel like flan,
30:14we can't risk it.
30:15Fine, but we'll get fed up with tortillas
30:18if we don't want them to go to waste.
30:30No, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
30:33What's going on?
30:35No!
30:37What's going on?
30:39We've left the most important thing.
30:41No, I took a bottle of anise.
30:42We've left the cucumbers,
30:44and I can't live without them.
30:46Well, you'll have to put up with it, Trini,
30:48because we can't go out right now.
30:50Right now, we're in a bus through the province of Segovia.
30:52Well, no, I need my cucumbers, okay?
30:54And now that I think about it,
30:56we won't be able to have them,
30:58it's just that I feel terrible when I eat a handful of them.
31:00Well, we'll give it to Tramuzes or Aceitunas,
31:02who more or less know the same thing.
31:04Who will know the same thing?
31:06Are you listening to yourself?
31:08No, I need my cucumbers.
31:10I'll give you a glass of anise, maybe it'll relax you.
31:12No.
31:14No, no, no, calm down, Trini, calm down.
31:16Think of something else.
31:18In the baby's clothes, or when we take him to the fair,
31:20or his communion, or the wedding,
31:22but not on the street, you don't know.
31:24No, no, I need my cucumbers, okay?
31:26And I won't let my son or daughter
31:28go out with a cucumber-shaped moon.
31:30But how are you going to love those memes about cravings?
31:32Those are fairy tales.
31:34Well, tell that to my cousin, Lalupe,
31:36who was born with a stain here,
31:38shaped like a chicken thigh,
31:39and was determined to have a bite for dinner at night.
31:42That's a coincidence.
31:44Scientifically, it's not proven that,
31:46because of the desire for a healthy food...
31:48Stop with the fairy tales.
31:50Look, I'm just going to tell you one thing, okay?
31:52I'm going to get the cucumbers.
31:54I'm going to get the cucumbers.
31:56Okay?
31:58I'm going to get the cucumbers.
32:00Goodbye.
32:02But hide all the time.
32:04And come back running, please.
32:06In case we start well.
32:09Thank you, Jacobo.
32:11I'll tell him on his behalf.
32:13Very well.
32:15Goodbye.
32:18It was Jacobo.
32:20Any news?
32:22Yes, he says he saw Fabio enter the house
32:24and that he saw him leave with Mrs. Bárbara,
32:26and that the two had a heated discussion in the garden.
32:29But could he hear what they talked about?
32:31No, but by his gestures,
32:33he has deduced that Fabio was very angry
32:35and that Bárbara was trying to calm him down.
32:37What do you think?
32:40I think Fabio knows more than he says.
32:44Jacobo will continue to monitor,
32:46to see if he finds out anything else.
32:48Yes, we are very lucky to have him.
32:50He is doing us a great favor.
32:52It is natural.
32:54After all, he is another victim of Carla.
33:02I told you that...
33:03You are very beautiful.
33:06You exaggerate.
33:08You are going to be the sensation tonight at the Madrid Cabaret.
33:11You exaggerate.
33:13No, you are beautiful.
33:15And very happy.
33:17Thank you for the compliments.
33:19The truth is that I want to go to that party.
33:21The two of us need to forget
33:23the tastelessness of these last few weeks.
33:26Yes.
33:28It will be very good for us to distract ourselves.
33:30And you know what?
33:31We don't have to go back in a hurry.
33:33Because in the end,
33:35Clarita doesn't come here to have a snack with her friends.
33:37She stays to sleep at Susana's house.
33:39So...
33:42We have all the time in the world.
33:48Well, let's not waste time.
33:51Hey!
33:53Please.
34:01Please.
34:07Well, Clarita, what do you want to ask your mother today?
34:10I don't know. I have a lot of ideas.
34:13You can ask her if she is in a beautiful place,
34:16if she is happy up there in the sky.
34:20Mother, are you okay up there?
34:32She answered you.
34:36I knew my mother was okay.
34:39You can ask her
34:41if she misses you.
34:45Mother, do you miss me?
34:54Look, Clarita.
34:56She answered you again.
34:58But Lara, I don't understand.
34:59How can she be happy up there in the sky
35:02and at the same time miss me?
35:04I get sad when I miss her.
35:07Well, Clarita, she can be in a beautiful place
35:10and also feel very lonely.
35:16Mother, does she feel lonely?
35:29Yes.
35:38Do you want me to go with you?
35:45Look.
35:50Can you ask her what you have to do to go with her?
35:54No, I can't.
35:55I can't.
35:57It's late and I have to go to my friend Susana's house.
36:00I sleep there tonight
36:02and I have to go before it gets dark.
36:05Sure, sure. I won't bother you anymore.
36:08But you know you can't tell her anything about this.
36:12It's our secret. I know, Lara.
36:14And it has to stay that way
36:16because if your mother finds out,
36:18she might get mad at you and she doesn't want to talk to you again.
36:21Why do you sleep at Susana's house?
36:23Matilde and Ñigo are going to a party at the Madrid Cabaret.
36:30Very well.
36:32See you tomorrow and we'll keep talking to your mother.
36:35Okay.
36:37Bye.
36:39Bye.
36:53Bye.
37:11How did it go?
37:13Bad, very bad.
37:15Why? It looks like you bought Pepe Niño for a regiment.
37:18Yes, I think I bought too much.
37:19I saw Elías leaving a lamp shop.
37:22What?
37:24Yes.
37:26Do you think he saw you?
37:28No, I don't think so. He didn't have time.
37:30I ran away with Pepe Niño's pot.
37:32You shouldn't have left.
37:34I know, but it was an emergency and I couldn't stay at home.
37:37When it's not the Pepe Niños, it's something else.
37:39In the end, he'll end up seeing us
37:41and they'll find out that the closest we've been to El Bierzo
37:43was when your cousin invited us to eat botillos.
37:45Okay, you're right.
37:46If I see them again, I won't listen to them.
37:48Okay.
37:50That sounds better.
37:52What do you want for dinner besides the Pepe Niños?
37:57Who could it be?
37:59It's me.
38:01Trini, it's Elías. Open up.
38:03It's Elías.
38:05What is he doing here?
38:07He saw you and followed you.
38:09Why is he following me? He knows where I live.
38:11It's me.
38:13Trini, open up. Are you there?
38:14Nothing. He'll get tired.
38:16Elías!
38:18Is it possible?
38:33How was your day, Cañete?
38:36It's better than impossible, Mr. Fermin.
38:38We've finished all the existences.
38:40Perfect. And as it was in the presence of Marcial Lalanda.
38:43I can't wait to see him in action.
38:45Like everyone else, Cañete. Like everyone else.
38:50If you allow me to comment, Mr. Fermin,
38:52you seem very serious,
38:54despite the good sales and the visit of the teacher.
38:57There's something that has me confused.
39:00Related to La Moderna?
39:02Yes.
39:04It turns out that I've heard two versions of the same event
39:06and I don't know which one I should believe.
39:09I don't like to meddle where they don't call me,
39:12but is it because of what Teresa told you?
39:14Yes.
39:16What Teresa told me about the accident has nothing to do
39:19with what Mrs. Lázara told me later.
39:21In one version, Mrs. Lázara harassed the subordinates
39:24to earn points with the bosses,
39:26and in the other, she only followed orders.
39:34Which version do you believe?
39:36Which version do you think is the closest to reality?
39:41I don't know, Mr. Fermin.
39:44I can only quote Artur de Gasset,
39:47who says that people only agree
39:51on a little silly things or a little silly things.
39:54Weren't you a fan of philosophy, Cañete?
39:57I'm not.
39:59A while ago, I bought The Rebellion of the Masses
40:01to impress a lady.
40:03And did it work?
40:04No.
40:06Although I got some good quotes,
40:08and her reading helps me with insomnia.
40:10I think it's very good, but I don't like the answer.
40:17I think Mrs. Lázara deserves the benefit of the doubt.
40:23We are all innocent until the opposite is proven.
40:27I beg you discreetly, Cañete, with what we have discussed.
40:30Of course, Mr. Fermin.
40:32I don't want to comment anything against Teresa.
40:34I know she appreciates me and that she does it for my good,
40:37but I have the feeling that there is something personal
40:41between her and Mrs. Lázara.
40:44I can only tell you that Teresa has always looked
40:47for the good of the modern woman and for hers.
40:49I know, I know.
40:51But she won't deny me that there is something wrong
40:54between the two women.
40:56With all due respect, Mr. Fermin,
40:58I'd rather not talk about that.
41:00Of course, as you wish.
41:02Back to work. It's getting late.
41:05Good night.
41:19What were you talking about with Mr. Fermin?
41:22He was saying that he doesn't know which of the two versions to believe.
41:26If the one Mrs. Lázara told him or the one you told him.
41:30And what did you tell him?
41:34Well, the same as you, Teresa.
41:37That Mrs. Lázara deserves the benefit of the doubt.
42:05Ciao, Pietro.
42:07I was waiting for you for dinner.
42:09I made a dish that you like a lot, the minestrone.
42:14Why did you tell Antonia that you want to stay here, in Spain?
42:18This was something that I had to tell her.
42:22I'm very sorry, Pietro.
42:24I didn't think there was anything wrong in telling you the news.
42:28The last thing I want is to create problems for you with her.
42:32Really?
42:34Why did you say that my feelings for you could bloom again?
42:38This seems to me to throw firewood.
42:40No, but Pietro, this is not what I meant.
42:43I don't remember the words, but I'm sure she misinterpreted them.
42:46Whatever it is, she was very upset.
42:51If you want, I can try to talk to her and clarify the misunderstanding.
42:54No, I don't want you to talk to her.
42:57Leave things as they are.
43:00I don't want you to make it worse.
43:04I'm sorry, Antonia.
43:06We'll see how to fix it.
43:08But now let's sit down for dinner, please.
43:11No, I'm not hungry.
43:15I understand that the misunderstanding has taken away your appetite.
43:18I'm not going to dinner either.
43:21I'll have to throw all this away or everything I've worked on.
43:24Wait, wait.
43:29I'll have a plate of soup.
43:31And I have a surprise for you.
43:39I found a store where they had bottles of Chianti.
43:42Oh yeah?
43:44Yes.
43:51Smell it.
43:58Do you like it?
44:01It's delicious.
44:07Drinking it is not like being back in Tuscany.
44:10Do you remember when you worked there for a season?
44:13Of course.
44:15How could I forget?
44:17Whenever we could, we would go to the field, right?
44:19With a bottle of wine.
44:21Until your boss discovered us.
44:24Chasing a bird.
44:27My God.
44:28The two of us in miniskirts.
44:31What a shame.
44:33What a show.
44:59What a voice.
45:03By the way, Mr. Comas.
45:05What song will Inés delight us with tomorrow?
45:07Well, really, Mr. Íñigo,
45:09Inés' performance will be brief.
45:11I don't want her to strengthen her voice.
45:13In any case, it is important that she gain confidence
45:16in the functions of greater magnitude.
45:18Of course.
45:20That way, she'll make you want to listen to her again.
45:22That's the idea.
45:24I don't know.
45:25You have to see how much Agustín worries about preparing your performance.
45:28The truth is, yes.
45:30Singing here is a way to turn the page and start again.
45:33You'll see that after this, nothing can stop your success.
45:39Here you have a mistela for Miss Laura
45:43and a gin-fizz for Inés.
45:46But how do you know I'm going to sing here?
45:49I don't know.
45:51I don't know.
45:52And a gin-fizz for Inés.
45:54But how do you know I like this cocktail?
45:57Well, it was the cocktail you asked for the day we met.
46:00In fact, I think it was at this very table.
46:03By the way, Laura,
46:05when I finish the song, would you like to dance?
46:07Yes, but we can't leave my sister alone.
46:10No, no, I don't care.
46:12You don't deprive yourself of anything for me.
46:14Excuse me, but I'm such a good dancer
46:16that I can dance perfectly with both of you.
46:18Well, you'll have to prove it.
46:22You'll have to prove it
46:24that I love you so much
46:26and you don't love me at all.
46:35This gypsy is crazy
46:37but she doesn't care
46:39that what she dreams of at night
46:41wants it to be true.
46:43This gypsy is crazy
46:45but she doesn't care
46:47that what she dreams of at night
46:49wants it to be true.
46:52This gypsy is crazy
46:54but she doesn't care
46:56that what she dreams of at night
46:58wants it to be true.
47:00How are you doing tonight?
47:03Good, right?
47:05I've taken a few pictures
47:07of Marcial Lalanda at the door
47:09and I've made sure
47:11that the poster looks great.
47:14You've been doing an incredible job.
47:17I'm so proud of you.
47:20You've been doing an incredible job.
47:35Next time you'll have to buy more wine.
47:38This one runs out soon.
47:40Do you remember this song
47:42that you used to sing to me
47:44when we were dating?
47:46Which one?
47:47Mare luccica
47:50Lastro d'argento
47:54Placi dell'onda
47:58Prospero il vento
48:02Venite all'agile
48:06No, no, no.
48:08Marchetta mia
48:12Santa Lucia
48:17Santa Lucia
48:19No, no, no.
48:21Lucia, no.
48:27I'm sorry, Lucia, but no.
48:30You were my first love.
48:32I've loved you madly, but no.
48:34My heart belongs to Antonia,
48:36do you understand?
48:38Give me a chance.
48:40I know that with some time
48:42you'll feel what you've felt before.
48:44No.
48:45That can't happen.
48:47And it won't happen.
48:53Antonia has Afro.
48:55She shouldn't have allowed
48:57herself to get to this point.
49:02I'm sorry.
49:15I'm sorry.
49:24Thank you all very much
49:26and I welcome the teacher
49:28who is visiting us tonight
49:30in Madrid Cabaret.
49:37It seems that the party
49:39has been a success.
49:41One of the best nights
49:43in Madrid Cabaret.
49:45Well, I'm leaving
49:47because I want to have
49:49the perfect voice tomorrow.
49:51We'll go with you.
49:53I think it's a perfect time
49:55to retire.
49:57No, it's too soon.
49:59I want to dance a little.
50:01Don't worry,
50:03I'll take a taxi.
50:05Bye.
50:07Bye.
50:09What do you think
50:11if we sit down?
50:13Of course.
50:16Let's go.
50:26I want to forget about Carla tonight
50:29and everything.
50:31I just want to enjoy being with you
50:33and that nothing disturbs this moment.
50:37That's done.
50:45Bye.
51:06If you want,
51:08we can stay another day to dance.
51:10I wouldn't mind,
51:12but didn't you say
51:13you wanted to be like me?
51:15I said that once.
51:17I'll talk to him about it.
51:19It's normal that he wants to know
51:21more about what happened,
51:23especially now that they had a close relationship.
51:25Yes, I know more now,
51:27but I feel incapable of deciding
51:29what to do.
51:31What do you think about all this?
51:33Fabio doesn't have what it takes
51:35to fulfill his threat of going to the police.
51:37He knows perfectly well
51:39that if he does something against me,
51:41you would never forgive him.
51:43I'm sorry, girls.
51:45For now, yes.
51:47The police left this morning
51:49and they haven't come back yet.
51:51I told him, Mom.
51:53He won't keep his word.
51:55He gets intimidated easily.
52:00Laurita told me you were leaving
52:02for professional reasons.
52:04But if she comes up with something
52:06I can offer to keep her here,
52:08I'm all ears.
52:10I'll let you have some more fun.
52:11I'm not going to ask you
52:13to break up with her right away.
52:15But you'll have to do it sooner or later.
52:17You can't ruin your future
52:19with a whore.
52:21You haven't told her anything else, have you?
52:23Of course not, but who do you think I am?
52:25I'm not going to tell her your secrets.
52:27Don't worry.
52:29It's something that bothers me a lot.
52:31Life has many possibilities.
52:33It's like when you go on a field trip
52:35and you find all kinds of flowers.
52:37The point is
52:38to know how to choose the flowers you want.
52:40And you
52:42always know
52:44which flower to choose.
52:46Wouldn't you like to stop being afraid?
52:50Yes.
52:52Do you trust me?
52:54Of course.
52:56Do you see this needle?
52:58You're going to have to grab it very hard
53:00and then you're going to nail it.
53:02Pietro, I really don't feel like arguing right now.
53:04I'm here to tell you
53:06that I'm going to ask Lucia
53:08to leave.
53:10Do you realize the power that woman has?
53:12What can she do to make you leave?
53:14I want you to think about yourself
53:16for once.
53:18I don't need you to protect me.
53:20I need you to support me.
53:22I wish my life in America
53:24was half as good as yours.
53:26I had to do horrible things there.
53:28Oh, Pietro.
53:30It's time to tell you the truth.
53:32I love you.
53:35That's why I'm so worried about Mrs. Lázara.
53:36Because if things end up going wrong
53:38and they fire you,
53:40I don't know what I'm going to do
53:42without having you around.