Salón de té La Moderna - Ep 224
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00:00I'm sorry, Marta, I'll call you right back.
00:04It's okay.
00:07Come in, come in.
00:09Well, I'm going to change.
00:11Hey, before you get to work,
00:14did you go to the Madrid-Cabaret party last night?
00:17No way.
00:18If I, with all the early birdies I get and the amount of work I have,
00:20I don't have time for that.
00:21I'm sorry, Marta.
00:22I'll call you right back.
00:24It's okay.
00:26Come in, come in.
00:28Well, I'll change.
00:30I don't have time to have fun out there.
00:32Of course, if you're so busy.
00:34Sorry, I asked you to ask.
00:36Nothing, I would like to be in Havana more often.
00:39In addition, the call for the night school has come out.
00:42And that means that now I have to study.
00:45Ah, well, good.
00:46Not that you have to study, you're already tired enough.
00:50I mean, that you introduce yourself.
00:52With how applied you are, you will enter for sure.
00:54I don't know, I wish.
00:56With the amount of homework I have,
00:58there are times when I fall asleep on top of the books.
01:01I hope to get to the exams in good condition.
01:04Hey, I loved dancing with you at Trini Miguel's party.
01:09Yes, well, I'm a little shy,
01:12but when we threw ourselves, I had a great time too.
01:15You know what they say,
01:16you have to dance as if no one was looking at you.
01:18And I think we complement each other very well.
01:21Yes, it wasn't bad, really.
01:25If you want, we can stay another day to dance.
01:27And so we perfect our technique.
01:30Let's see, I wouldn't mind, but I don't know,
01:32didn't you say that your father didn't want you to go out with girls like me?
01:35That they could distract you?
01:37He said that once.
01:38I already told you that I'm going to talk to him about that topic.
01:41Well, I don't see you with much desire.
01:43Yes, woman.
01:44Look, he's just going to tell her today.
01:45That he's going to come to the bookstore and I can introduce him to you.
01:51Do you really want to introduce me to your father?
01:53Of course, you're going to love it and I'm sure you'll change your mind.
01:57Well, let's see.
01:58I don't know if I'm going to love him as much as you say, but...
02:02Even more.
02:04He's going to realize how important you are to me.
02:09Well, I'm going to work, I'll be late.
02:12Yes, yes, of course.
02:23Where did you go yesterday?
02:25I know you went out.
02:26And that you came back late.
02:27Because I went down to the basement to leave you dinner and you weren't there.
02:42Mother, I'm already old enough to give him explanations about where I'm going or where I'm not going.
02:48Your answer is proof that you're not as mature as you think.
02:52Well, it's okay to take the piss, daughter.
02:54We are in a very delicate situation.
02:57I guess I don't have to remind you that Fabio gave us an ultimatum yesterday.
03:01Fabio doesn't have what it takes to fulfill his threat of going to the police.
03:05He knows perfectly well that if he does something against me, you would never forgive him.
03:10And that man without you is nobody.
03:12Wow.
03:13Wow.
03:15I imagined that you would not have me in very high esteem, but ...
03:19I didn't think you had such a wrong idea about me.
03:24Fabio, if you don't want to take these discomforts, the best thing is that you don't listen to hidden conversations of others.
03:30Do you really think I'm a puppet in your mother's hands?
03:36Are you so used to slandering and manipulating that you think that all of us around you don't know anything?
03:43But I'm sorry to disappoint you, yes.
03:46We are perfectly aware of your maneuvers.
03:51I have not asked for his opinion.
03:53And I'm sorry that this may cause concern to your mother or to you.
03:58But I told the truth when I assured you that if you don't leave the country, I will go to the police.
04:03And I will tell you everything you have done.
04:06As I have already told my mother, let me doubt it.
04:10What you have done to Íñigo and Matilde is of absolute moral debauchery.
04:16You have not only tried to make it seem that Matilde had lost her mind.
04:20No.
04:21You have also accused Íñigo of being a murderer.
04:25What's more, I would venture to say that you were behind the accident in which both and Matilde's younger sister almost died.
04:34Fabio, please.
04:36I never imagined that you could be so imaginative.
04:41Go, go to the police and tell them all your conjectures.
04:45See what they answer you.
04:47Come on, go and stop threatening.
04:50Don't challenge me.
04:52Don't challenge me because I can do it at any time.
04:55No, I don't think so.
04:58Both you and I know that if you go to the police to report us, the one who will end up in jail will be my mother.
05:04And you are not capable of doing that.
05:07It is not easy to see how the woman you love ends up in prison, right?
05:13To see her languish little by little in horrible conditions.
05:20Mardora, I have tried to protect you, but your daughter, your daughter will be your ruin.
05:28I told her, mother.
05:30She will not keep her word.
05:32She is intimidated easily.
05:35I admire your confidence, but I am not so sure that you are not going to tell us what we have done.
05:41Besides, your arrogance has not helped us much.
05:43On the contrary.
05:49Hello.
05:51Hello.
05:54Hello.
05:56Hello.
05:59How are you?
06:01Fine. A little tired from yesterday.
06:03And these photographs?
06:06They are the ones I made for Marcial Lalanda.
06:08I just revealed them.
06:10They are very good.
06:11You have captured his personality and his soul well.
06:16Yes, the truth is that he has a lot of presence.
06:19He is very serene.
06:21I did not have to tell him many things.
06:23It comes out as it is.
06:25Good morning, dear.
06:28Celia, how glad I am to see you.
06:32Why do you say that, Mr. Fermin?
06:34Because I'm going to miss you a lot if you finally decide to leave for Germany.
06:40My mother, my mother, I think I've lost my leg.
06:42Look, Laurita told me that you were leaving for professional reasons.
06:46But know that if something happens to her that I can offer to keep her here, I am all ears.
06:52Thank you, Mr. Fermin.
06:54You are always so kind.
06:56The truth is that I am thinking about it, I am still not very sure.
06:58If I decide to leave, you will be the first to know.
07:01I hope you tell me with total confidence.
07:03Of course.
07:04Because if so, Laurita and I have to decide if it is worth keeping the store open or not.
07:10Of course, I understand perfectly.
07:12Know, Celia, that I support you just as I support my nieces in everything.
07:17Decide what you decide.
07:19That means a lot to me.
07:21Thank you, Mr. Fermin.
07:23I have always thought that everyone should choose their own path in freedom.
07:28Well, I have urgent things to solve.
07:32Goodbye.
07:33Bye.
07:38Celia, it was Agustín who left without saying anything and I had to tell him.
07:43But I want you to know that there was no bad intention.
07:45Yeah, but I would have liked to tell him myself.
07:50But you haven't told him anything else, have you?
07:52Of course not, Celia, but who do you think I am? I'm not going around telling him your secrets.
07:56Calm down, it's a topic that bothers me a lot.
07:58Don't take it that way.
08:00Yeah, and how do you want me to take it?
08:03I don't know.
08:09Neither Trini nor Miguel could be, because they are getting married in El Bierzo.
08:12Well, I swear I saw a woman yesterday just like Trini on the street.
08:16It wouldn't be Trini.
08:18Well, if it wasn't her, it was nailed, come on, as if she had a twin sister.
08:22And where do you say you saw her?
08:24Well, I was in a store picking up a lamp when suddenly I saw her on the street.
08:28Notice if that's how I left the store to greet her.
08:30And maybe I asked her if they had changed their minds, right?
08:33And they were going to get married. Don't tell me.
08:35Yes, and you don't know how worried I was.
08:37Of course, because you are very bad with suspense and you don't know things.
08:41Man, of course, and even more so if it's the wedding of two of my best friends.
08:45Well, I went straight to his house.
08:47Man, Elias, I don't think it was necessary.
08:50Man.
08:51Elias, go check the tables in the living room, there is one that itches and I don't know what it is.
08:57On my way, boss.
09:01Are you okay?
09:03Yes, very well, and you?
09:07You know that that doesn't work with me anymore.
09:10What happened to you?
09:13Well, look.
09:15I didn't like at all that you told Don Fermín that Mrs. Lázara deserves the benefit of the doubt.
09:22Let's see, Teresa.
09:23He may be wrong.
09:25But I like to be honest and say things as I see them.
09:27But not only with Mrs. Lázara, with everyone.
09:29Yes, but it is assumed that you were with me in this.
09:32And you have sold me.
09:34I didn't think you would stop supporting me.
09:37But if I support you.
09:39And I know what you've been through.
09:41What I don't want is that you take the confrontation so far that you get into a problem.
09:44But we have already talked about this.
09:46And I told you because I told you that I was going to get to the end, or not.
09:49But do you realize the power that woman has?
09:51What can make you say goodbye?
09:53Have you thought what would happen to you if they fired you from this position?
09:56Because there is no one to look for work right now.
09:58And less being a woman.
10:00That many times it is more difficult for businessmen to trust you.
10:03Well, look, it may be.
10:05But it is that such a conflictive and dangerous person like her, what has to be out of the room.
10:09But in the end things fall by their own weight, Teresa.
10:12If Mrs. Lázara is responsible for something so serious, she will end up knowing.
10:17What I want is that for once, for once,
10:19you think about yourself.
10:20That I don't need you to protect me, that what I need is that you support me.
10:24But look, that's it, leave it.
10:26Leave it because the same thing always happens to me.
10:28I think I can trust people and in the end I'm always alone.
10:31But I'll tell you one thing, better alone than badly accompanied, that's it.
10:35Wait a minute, Teresa.
10:36What?
10:37That we have not finished.
10:38Oh, no?
10:39No.
10:40I think I have shown you enough times that I have supported you.
10:44And that I am happy with you.
10:46That I have supported you.
10:48And that I am by your side and I want to be there.
10:50At any time of the day and night.
10:52For anything you need.
10:54And it may not be perfect, but ...
10:58I care a lot.
10:59Yes, yes, yes, already.
11:02Look, I had thought many times about telling you that.
11:06But in my head it sounded not as clumsy as it may sound now.
11:12But Teresa, I ...
11:14Well, what about you?
11:17I love you.
11:22I like everything about you.
11:24Well, you have a lot of genius, but I like it much more that you have character.
11:29I like your hands, your eyes, your hair.
11:34I like how you face problems with all the courage in the world.
11:38Well ...
11:41I even get happy when I hear your voice.
11:45That's why I'm so worried about Mrs. Lázara.
11:47Because if things end up twisting and they fire you ...
11:51I don't know what I'm going to do without having you close.
12:01Sorry.
12:04I messed up again.
12:06Again.
12:08Again.
12:18And have you seen her enter?
12:20Yes, yes, yes, yes.
12:22It was Fabián, I'm sure. I saw him enter the palace.
12:24He would surely be meeting with Mrs. Bárbara.
12:27But I'm not sure either, because they had the curtains down.
12:29I understand.
12:31Is there anything else that has caught your attention?
12:34Well, yes, there has been something that has caught my attention.
12:37All the service, the key master, the cleaning lady, including the driver,
12:42have left this morning and have not returned yet.
12:45So ...
12:47the curtains are still down.
12:49For now, yes.
12:50And there has been no more movement.
12:52So the curtains are still down and the service is out.
12:57I'm sure one thing is related to the other.
12:59Man, it seems to me a very reasonable hypothesis.
13:02The good thing is that I have got plans for the palace.
13:08Sorry, Jacobo, but I have to hang up.
13:10They have knocked on the door.
13:12It will surely be Celia who wants to bring me some photos of the party at Madrid Cabaret.
13:17Please, if you see something that catches your attention again, let me know.
13:22Count on it.
13:23Goodbye.
13:24Goodbye.
13:37Hello.
13:43Fabio.
13:45I was not expecting you.
13:47May I come in?
13:48I just need a minute to talk to you.
13:54Come in.
14:02I don't want to interrupt.
14:05No.
14:06Don't worry.
14:07I was with the business paperwork.
14:11But please, have a seat.
14:24I'm listening.
14:26The last time we saw each other,
14:28he told me that he thought I had more information than he did.
14:32And he was right.
14:35It has not been easy to come to your house.
14:39Not with my personal relationships.
14:42Presenting myself here like this,
14:45I take care of everything that has had to happen, Matilde and you.
14:49From what I see, you want to tell me something.
14:53Please, do it with total tranquility.
14:56We could have many different conversations, I assure you.
15:00Yes, I could also listen to them all.
15:02I'm not in a hurry.
15:04But I think he's coming to unload his conscience.
15:08Isn't that right?
15:12Well, what I want to tell you is that the sale of the premises is still to be confirmed.
15:18No, no, but we already know that.
15:21Mrs. Bárbara does not want to sell the premises of the gallery to the businessmen
15:25who are renting them.
15:27Yes, but I have the impression that this may be so for life.
15:32Circumstances, as you can imagine, have changed.
15:40Could it be a little more specific, Mr. Fabio?
15:43Yes.
15:45Mrs. Bárbara no longer needs more liquidity.
15:48She does not need to sell any more assets.
15:51That seems to me to be clear.
15:53Mrs. Bárbara has money.
15:56But it is a very sharp decision.
16:02I wonder what she could obey.
16:08Well, I don't want to go into details,
16:10but I will tell you that Mrs. Bárbara is willing to respect her daughter's will.
16:15You mean, your daughter's last will.
16:21Isn't that right?
16:25Call it whatever you want.
16:31Thank you for your time.
16:44Can I come in, Mr. Fermin?
16:45Of course, of course. Come in.
16:48I just wanted to make sure that everything is fine around here.
16:51Have you emptied the stationery?
16:53Since Mrs. Lázara is not here, I have not been able to ask her.
16:57No, everything is perfect.
16:59Thank you, Esperanza, for your interest, but I don't need anything.
17:02So Mrs. Lázara is not coming back?
17:07Well, I'll leave you alone.
17:09And I'll continue with my chores.
17:11Goodbye.
17:18What did Esperanza want?
17:19Don't you clean your office in the first hour?
17:21I'm afraid she is intrigued by Mrs. Lázara's fate, like the rest of the team.
17:26I imagine.
17:30And ...
17:32And to what extent is your relationship with her?
17:37Well,
17:39we'll meet outside of here.
17:41I thought it would be the most sensible thing, and Mrs. Lázara also thinks so.
17:46Yesterday I stayed for dinner with her to hear her version of the facts.
17:52And did she make you change your mind?
17:54She made me doubt, of course.
17:57As they had told me, it seemed little less than a murder,
18:00and now, on the other hand, it seems the inevitable consequence of precarious working conditions.
18:08Very precarious.
18:11I hope I have not been unfair to her.
18:14Well, it is normal that you want to know more about what happened.
18:17Especially now that you had a closer relationship.
18:20Yes, yes, now I know more, but I feel incapable of deciding, I don't know what to do.
18:27Ah.
18:30What do you think of all this?
18:33Well, I think I should listen to Mrs. Lázara,
18:35so that she gives her the explanations she needs and then she decides.
18:39It is the most logical thing.
18:42I don't like this situation at all, I feel between a rock and a hard place.
18:49Well, whatever your decision, I am convinced that it will be the right one.
18:57Well, and you? Are you nervous about tonight's performance?
19:01Yes, yes, I am very nervous.
19:03Yes? Well, I see why.
19:05Everything is going to be wonderful.
19:07You just have to trust your talent and be calm.
19:11The rest, you will come alone.
19:15It doesn't matter if I go home and so I prepare the performance quietly.
19:18Of course, darling, of course.
19:19See you tonight at the Madrid Cabaret.
19:22Because I plan to applaud until my hands hurt.
19:26I don't know if I trust you when you say that everything is in order.
19:29Of course, father.
19:31I have come at the first hour to open the door to Marta and I will go last with the closure,
19:35as it could not be otherwise.
19:36Wow, what a fulfillment.
19:38And I'm not going to go home to eat, huh?
19:40I brought myself a sandwich to eat in the back room.
19:43And even the sandwich was made by me.
19:45Impressive.
19:47I'm glad to know that you are becoming a formal and responsible man.
19:52Finally.
19:53Well, I have to admit that Miguel is helping me a lot.
19:56I'm learning a lot from him.
19:58Miguel is a great worker and a beautiful person.
20:02By the way, yesterday I forgot to call him to congratulate him on his wedding.
20:06Don't worry, father, I give him good wishes.
20:09Thank you very much, son.
20:13Salvita, now that there are no customers and that we are alone,
20:18I would like to have a little chat with you from man to man.
20:23Sure, father, you tell me.
20:26I wanted to tell you some of the plans I have for you.
20:30And what kind of plans are those?
20:33Son, you are about to become a man made and right.
20:39It is a fantastic moment to ensure a promising future.
20:43None of that sounds bad, but I am now in the bookstore and I could stay here longer.
20:48Son, I thought it would be fantastic to get you with Vanessa Bennet.
20:54She is the daughter of one of the industrialists of the wine of Genet.
20:57It is a very good English family.
20:59But, father ...
21:00In fact, you already saw her.
21:03She is a fantastic woman.
21:05Yes, yes, I want to remember that you commented how beautiful she seemed to you.
21:11Son, if our two families unite,
21:14a good fate awaits you in the business of the Bennets.
21:17You will be able to live as we always imagined.
21:20You can always come to the bookstore and see your friends when it seems appropriate.
21:25Father, I can't do that.
21:27You have to take advantage of the opportunities when they arise.
21:30This train does not pass twice.
21:32Look, I understand that you find it very interesting,
21:35but I am not going to commit to anyone.
21:39And you can know the reason and don't come to me with nonsense.
21:44I am in love with Marta.
21:50I knew you would tell me something like that.
21:53Well, it's normal.
21:54You barely know the world.
21:56And you know much less how it works.
21:59I know how to recognize an extraordinary woman when I have her in front of me.
22:02Me too.
22:03That's why I want you to marry Vanessa Bennet.
22:07Can I be generous with you?
22:10Can I accept that Marta is entertainment for a while, nothing more?
22:14I would never consider her entertainment.
22:16She is worth a lot and you should meet her.
22:19I'll let you have fun for a while longer.
22:22I'm not going to ask you to break up with her immediately,
22:25although you will have to do it sooner or later.
22:28Son, you can't unite your future with that of a whore.
22:32But Marta is studying.
22:33Better for her.
22:34But no matter how much she learns, it will always be little.
22:39You can and should aspire to something much better.
22:43Look, Father, I'm not going to do what she asks me to do.
22:47I'm not asking for your permission.
22:49I can promise you without you saying anything.
22:52Something will have to tell me that I don't want to marry that girl, right?
22:54It will be better if you obey my orders.
22:56I'm not going to do it.
22:57If you don't, I'll fire Marta.
23:00What's more, if you're still in your thirties,
23:03I would ask Don Fermín to kick her out of La Moderna.
23:06But Father, for God's sake, you can't do that.
23:08I'm asking you, please, don't do it.
23:10If you want that girl to keep her job,
23:13you'll have to forget about her.
23:14And meet Miss Bennet tomorrow.
23:17Okay?
23:34Oops!
23:35I'm going to get sick of eating so many chips.
23:38You're going to get sick of eating so many peppers.
23:44Elias, again!
23:47Don't worry, I'm Cañete.
23:53Hello. Come in, come in.
23:56Careful, Miguel, the jacket is new.
23:58Lower your voice, man.
23:59I hope no one has followed you.
24:00No, no one has seen me. Don't worry.
24:02But I was born a short time ago.
24:04That's how all the mystery novels start.
24:06Let's see, what happened?
24:07Well, you tell me.
24:08Because Elias is saying that yesterday afternoon
24:10he saw a woman just like Trini.
24:12Oh no! And what did you tell him?
24:14Well, what can I tell him?
24:15That it was impossible because at that time
24:16you were on your way to the wedding.
24:17Oh, Cañete, you're one of the friends who don't want it anymore.
24:19A lot of friends and whatever they want, Miguel.
24:21But do me a favor and don't leave the house.
24:23With the one we have organized to discover the cake now.
24:25No, it's just that...
24:26And that Elias never rests.
24:28It's just that...
24:29Don't leave the house, please.
24:30Yes, I'm very sorry, I'm sorry, I'm sorry.
24:32It's my fault.
24:33Lately, I've been eating cucumbers.
24:35I don't know what's wrong with me.
24:36I can't contain myself, okay?
24:37But from now on, I'm going to contain myself.
24:39Don't worry.
24:40Don't look at me like that.
24:41This is the same for you.
24:42Take good care of yourself.
24:43In the end, you're going to have a baby
24:44with a cucumber head.
24:45Miguel.
24:47Yes, because I haven't given up.
24:48I'm not telling you that I don't feel like it.
24:50Well, you don't have to exaggerate either.
24:51Exaggerate?
24:52My brother Clemente has a moon in the same shape
24:54as an egg.
24:55Oh!
24:56Can you guess why?
24:58The eggs are delicious.
24:59Do you know if they are in season?
25:01I think so.
25:02Cañete, why don't we stop talking about food
25:04and don't read it anymore?
25:05How is it in La Moderna?
25:06Is there a lot of talk about the wedding?
25:08Man, there is some talk.
25:10But...
25:12Don't worry, because if people find out
25:14about what I organized with Teresa,
25:15I'm going to take all the lead.
25:17What happened with Teresa?
25:19Do you want the short version or the long version?
25:21Both.
25:23Let's see.
25:24I'll tell you the subject a little above.
25:27I threw myself and...
25:28I ended up telling her that she was the woman of my life.
25:30What?
25:32Well, I'm sorry, Cañete.
25:34With what you had worked that friendship lately.
25:37Look, I don't want to be a ash,
25:39but don't be surprised that from now on
25:41I start avoiding you.
25:42Knowing her.
25:43Do you think so?
25:44Man, it's just that Teresa is very radical
25:47with these things.
25:48Right?
25:49It's how it has to be.
25:50I already knew that she didn't want to hear anything
25:52about a relationship.
25:53But I don't know what happened to me.
25:54I couldn't stand it.
25:56And now I'm not going to be able to conform
25:58to the consolation of friendship.
26:00Who would send me to talk?
26:04A game?
26:05So we start again.
26:07Oh, it will be in case.
26:09I'm in a hurry, but come on, deep down.
26:11Yes, yes.
26:13The light of the moon breaks
26:15in the sacred Nile.
26:19I fell asleep in heaven.
26:29Agustín.
26:31What a surprise.
26:32I'm sorry if I come at a bad time.
26:34I just came to bring you this.
26:38But flowers don't grow at the end of an act.
26:41Well, I'm so sure that your performance
26:43will be a success.
26:45Why wait?
26:48Come on, come in.
26:58Thank you for the flowers,
27:00but I want you to tell me your secret.
27:05My secret?
27:07Yes, I would love to enjoy
27:09that security you have.
27:11I don't know, I'm very jealous.
27:13You also have that security,
27:15although you don't know it yet.
27:17It's all a matter of perspective.
27:19Life has many possibilities.
27:22It's like when you go on a field trip
27:25and then you find all kinds of flowers.
27:29The point is to know how to choose the flowers
27:32you want to make an ideal bouquet.
27:39And you always know which flower to choose?
27:45Well, if I tell you the truth,
27:49not always.
27:51And it's a shame.
27:56I'm going to put the flowers in the water.
28:05How are you feeling for tonight? Are you nervous?
28:09Yes, a little.
28:10But nothing compared to the first time I sang.
28:15Maybe because I didn't have your support.
28:19Well, the first times always cause
28:22some restlessness in anyone.
28:24I have nothing to do with it.
28:26Yes, but more restlessness
28:28are caused by the second chances.
28:30And I assure you that without you
28:32I would not have been able to sing again.
28:35So I thank you from the bottom of my heart.
28:38I always loved you very much.
28:41The question is why not do it
28:43if this little star Castro told you that I would sing again.
28:46Everyone who knows you has a lot of faith in you.
28:49Now you just need to have it too.
28:52And then we'll go very far.
28:59Anyway,
29:01it will be better if you leave me
29:03and I let you rest tonight.
29:07Goodbye, Agustín.
29:09Agustín.
29:23Hi, Lara.
29:24Hi, Clarita.
29:29Shall we start?
29:30I've been thinking about more questions
29:32to ask my mother tonight.
29:34Today we're going to do something else.
29:36Something that will suit you very well.
29:39Wouldn't you like to stop being afraid?
29:43Yes, but is that possible?
29:46Yes, and it's very useful.
29:49And it's very useful.
29:51Because doesn't it happen to you that when you're afraid
29:54you get paralyzed?
29:56Yes, and I get cold.
29:58That's because you haven't learned to overcome it yet.
30:00But I'm going to teach you.
30:02Because there will come a day
30:04when you will have to be very brave
30:07and you will have to make the big decision.
30:09You know?
30:10What big decision?
30:12We each have a different one.
30:14Mine, for example, is that I have to go very far from here.
30:18How far?
30:20Like Aunt Conchita?
30:22Even further.
30:24To a place where I can be happy.
30:28And you're not happy here with me.
30:30I thought we were friends.
30:32And we are.
30:33The best friends.
30:35I don't want you to go.
30:37I'm not going so soon.
30:39First I'm going to help you face fear.
30:42Do you trust me?
30:44Of course.
30:46Good.
30:58Do you see this needle?
31:00You're going to have to grab it very hard.
31:03And then you're going to nail it.
31:06Don't think about it.
31:08If you think about things, then you don't do them.
31:12But Lara...
31:14Is that going to hurt me?
31:16Only if you think about it.
31:18In the end, this is like fear.
31:21If you think something scares you,
31:23in the end it ends up scaring you.
31:25That's why it's best not to think.
31:28Try it.
31:30Grab the needle and nail it.
31:33But don't think about it.
31:35Just do it.
31:41A YEAR LATER
31:46Wait.
31:48Son of a bitch.
31:50If I find out you're so uncomfortable,
31:52I'm not going to marry you.
31:54I'm uncomfortable?
31:56Yes.
31:57I don't know if you're losing yourself,
31:59but you're tense.
32:01A little bit of both.
32:03And all because of the bookshop.
32:05Just the thought of my job hanging by a thread...
32:08Actually, it's Alvita.
32:10That guy loves you deep down.
32:13So don't turn your back on him.
32:15His father doesn't love me.
32:17I don't know what's going on between them.
32:19And since I'm locked up all day,
32:21I can't know what they're up to.
32:23Honey, I'm sorry.
32:25Are you going to kill me?
32:27But I think I'm craving something.
32:29Cucumbers!
32:30No, no, no.
32:31Don't tell me that.
32:33Don't even mention it.
32:35It's disgusting just thinking about it.
32:37What are you saying?
32:39I'm not craving food.
32:41It's more like... reading.
32:44Do you really crave that?
32:46Of course not.
32:47Obviously not.
32:48But you spend all day talking about books
32:50and reading.
32:51I'm locked up here,
32:52and I'm getting nervous.
32:53Okay, okay.
32:54Don't panic.
32:55You're at a bookshop.
32:56If there's something there, it's a book.
32:57Yeah, but I don't want any book.
32:59Oh, no?
33:00Anything special?
33:01Yes.
33:02Dante's Divine Comedy.
33:04Precisely.
33:05Yes.
33:06I don't know if I have it here.
33:08Don't worry about it.
33:09In my opinion, it's much better
33:10where it's at Cervantes.
33:11But at this point,
33:12you don't know what a craving is.
33:14I need that.
33:16Well, I'll give it to you.
33:17But right now,
33:18I can't give it to you
33:19because I left it at the bookshop.
33:32No.
33:33No, no, Trini.
33:35Let's focus.
33:38You heard her, Cañete.
33:39We can't leave the house.
33:40Yes, I know.
33:42The thing is, I'm here,
33:44overwhelmed,
33:45at home, locked up.
33:46She made me read.
33:48No, no, yes, yes.
33:49I think it's great,
33:50but right now,
33:51I can't get you that book.
33:52Going to work is too dangerous,
33:54and I can't walk around
33:55all the bookshops
33:56looking for Divine Comedy.
33:57Well,
33:58fine.
33:59It's fine.
34:00You're absolutely right.
34:03Well,
34:04how do nerves affect the baby?
34:16Where are you going?
34:17To change.
34:18Or do you also want me
34:19to go out in my pajamas?
34:23What's wrong?
34:24My knee.
34:25It's just that
34:26I've had a sprain.
34:27I told you
34:28I could feel it a little.
34:35Marta,
34:36what time do you get here?
34:37You're always early.
34:39Shut up, shut up.
34:40I was going to leave at my time,
34:41but some things came up.
34:43Did you bring a lot of people
34:44to the bookshop?
34:45You don't look well.
34:46What's wrong?
34:47No, it's just that
34:48I've been studying
34:49in the changing room
34:50when I finished work.
34:51The thing is,
34:52Salvita told me
34:53she was going to introduce me
34:54to her father.
34:55Really?
34:56And how is he?
34:57I haven't had much
34:58contact with him.
34:59Look,
35:00he knows more than I do.
35:01Because men don't know
35:03I don't know.
35:04Did something happen to him?
35:05That's strange.
35:06I saw him at the bookshop today.
35:07At the bookshop today?
35:08Yes,
35:09talking to Salvita.
35:10And why didn't Salvita
35:11tell me anything?
35:12I don't know, honey.
35:13You'll have to ask him.
35:14Of course,
35:15you have to
35:16mess with this guy.
35:17First he tells me
35:18he's going to introduce me
35:19to his father
35:20and then he leaves me stranded.
35:21My nose is starting
35:22to get swollen.
35:23What did I tell you yesterday?
35:24That men don't know
35:25anything.
35:26I don't know
35:27what to do.
35:28I don't know
35:29what to do.
35:30I don't know
35:31that men are very their own.
35:32No.
35:33If they're not willing
35:34to fight for one,
35:35it's better to keep it at bay,
35:36Marta.
35:37Maybe what you should do
35:38is ask that kid
35:39why he has changed his mind.
35:41Well, we'll see
35:42because for now
35:43I have no time
35:44nor desire to see him again.
35:45Look, let's do something.
35:46Why don't you go get some bread
35:47and you get some fresh air?
35:48You'll have the money there.
35:50Okay.
35:51Okay.
36:00Hi, Marta. Is Antonia here?
36:03I want to talk to her.
36:04She's here. She just wants to talk to you.
36:16Excuse me.
36:18Hello.
36:22I don't know if this is a good time, but I wanted to talk to you.
36:26Pietro, I don't feel like arguing right now.
36:29I'm not here to argue.
36:31I'm here to tell you that I'm going to ask Lucia to leave my house.
36:39Very well. You know what you're doing.
36:42You really don't have anything else to say?
36:45I don't know what else to tell you, Pietro. I don't know.
36:48I don't know. When that woman leaves your house, then we'll talk.
36:54Okay.
36:56Okay.
36:57It's all been said.
36:59Good afternoon.
37:11Look, I've known him forever, but I'm not used to seeing him so nervous.
37:14Because I'm a great actor, Laurita, and you're very observant.
37:19Don't worry. My sister will deal with him.
37:21Nerves are inevitable.
37:23Everything that matters to you two matters to me.
37:26On top of that, they're contagious.
37:28And this morning, your sister told me that she had a flat.
37:32Well, it's normal.
37:33But you'll see that as soon as she gets on, it happens to her.
37:36She has a lot of temper.
37:37Besides, she's worked a lot with Agustín.
37:39She doesn't lack tenacity, of course.
37:41Let's hope that everything goes well tonight.
37:44Because that way she'll gain confidence and her career will be able to take off.
37:48Because if not...
37:52Mr. Fermin.
37:53Yes?
37:54Do you mind if I take some pictures from here?
37:56Please.
37:57I have a better angle.
37:58Please, sit down.
38:10Good evening, ladies and gentlemen.
38:14First of all, I'd like to thank Domingo Peñalver
38:17for allowing me to introduce the next guest of such a special night.
38:23Today, a spectacular artist returns to Madrid Cabaret.
38:27Curiously, he started his career here.
38:30And after a short break, he returns to delight us with his talent.
38:36Let's welcome with a big round of applause
38:39the wonderful Inés Balbuena.
38:48I can't, Agustín, I can't.
38:50Listen to me, you can.
38:51You were born for this.
38:53Please, trust me.
39:06INES BALBUENA
39:20It's been a long day.
39:23Would you like to go for a drink before going to the bar?
39:26Look, I'd like to clear my head a bit.
39:28Although lately I don't know what's right or what's wrong.
39:32Well, I'm glad you're here.
39:35But let's see what's going on.
39:38Teresa.
39:40Yes.
39:41Today I had the great idea again to talk to you about my feelings.
39:45In short, you've been avoiding me all day.
39:48I'm sorry, man.
39:49But with the number of times I fell into the sea,
39:52I've fallen in love again.
39:54We've already messed it up.
39:55Besides, when you try to...
39:56And I'm not trying to mess it up.
39:58I'm not trying to do anything.
40:00But what can I do?
40:02I can't forget her.
40:04I see her everywhere.
40:06Holy Virgin.
40:07But this is contagious.
40:08Here she comes.
40:09Well, come on.
40:15Teresa.
40:17I understand that what you least want right now is to talk to me,
40:20but I think I owe you an apology for this morning.
40:23Cañete, this morning has been...
40:25Embarrassing, I know.
40:26I know.
40:27I don't know who I thought I was to burden you with my feelings,
40:30as if they were yours.
40:31Listen.
40:33This morning has been beautiful.
40:37What?
40:39Well, it's been the most beautiful thing my life has ever told me.
40:43Are you serious?
40:45Because lately I haven't been right with you.
40:48Look, I know that sometimes we don't agree,
40:51but it's true that you're always there for me.
40:54That I can count on you for everything.
40:56For everything and for more.
40:58I'm there for whatever you need.
41:02Look, I always thought that love was something romantic.
41:07Exciting, too.
41:09But I think I was wrong.
41:12That good love,
41:14the real good love,
41:16what makes you feel is peace.
41:19Tranquility, too.
41:22Feeling that the other person is there, no matter what.
41:26Support, respect, those things.
41:30And talking to you this morning, I've realized that
41:34all those things, I've had them for a long time.
41:39What happens is that I haven't been able to see it.
41:43So, well.
41:45Look, I don't want to waste time,
41:47because I think we've already lost a lot.
41:50So, there you go.
41:55Cañete, do you want to be my life partner?
42:05Of course.
42:07Yes?
42:08Of course.
42:14Well, give me a kiss, or something.
42:20No.
42:50No.
42:51No.
42:52No.
42:53No.
42:54No.
42:55No.
42:56No.
42:57No.
42:58No.
42:59No.
43:00No.
43:01No.
43:02No.
43:03No.
43:04No.
43:05No.
43:06No.
43:07No.
43:08No.
43:09No.
43:10No.
43:11No.
43:12No.
43:13No.
43:14No.
43:15No.
43:16No.
43:17No.
43:18No.
43:19No.
43:20No.
43:22No.
43:23No.
43:24No.
43:26No.
43:27No.
43:28No.
43:29No.
43:30No.
43:37It was a lovely crowd.
43:43No wonder ¡Mrs. Valbuena!
43:45The audience was at the level of the artist's talent!
43:47And if you want more, I have a secret.
43:52Very soon you will be able to enjoy the enormous talent of Miss Balbuena in the opera of the season.
43:59The Court of Pharaoh.
44:01Good night and see you in the theater.
44:14Have you been well?
44:16I haven't been well, Estela. I have no words.
44:19An incredible future awaits you.
44:21Well, as you say, what awaits me is a crybaby in every performance.
44:25I still have goosebumps.
44:27With your permission, I would like to take a bottle to toast to the artist of the moment.
44:33Well, and also to the producer.
44:35Well, for now I'm going to get a bottle and we'll talk about that later.
44:41Why don't you tell Celia to be one of us? The more we are, the better.
44:45Of course.
44:51Celia.
44:55Congratulations to Inés. It's been amazing.
44:59Why don't you tell her yourself? I'm sure she'll be excited.
45:03Besides, my uncle would like you to toast with us.
45:08Celia, are you okay?
45:16Laura, I'm sorry I reproached you this morning,
45:21that you had told Don Fermín that I wanted to leave. I'm really sorry.
45:25No, no, don't worry.
45:27What has bothered me is that you think I said ...
45:31Well, that I've been talking about your feelings.
45:35Yes, I would never do that. For me you are someone very important.
45:41I know.
45:43But not as important as I would like.
45:46I'm sorry. I don't know what I can do for us to be friends again like before.
45:51It's not your fault.
45:53I have to make a decision once and for all.
45:56I have everyone pending. If I stay, I leave.
45:59Celia, why don't you leave that decision for tomorrow and now you come to toast?
46:04Better not.
46:06Do me a favor and tell the rest.
46:09Celia, we'll have a good time. Cheer up.
46:12Right now I would drown the party of the whole world.
46:15And tonight is very important for your sister.
46:20Have a good time.
46:30I forgot to tell you.
46:32The workers have told me that the carcoma is solved.
46:36Finally, next week I move.
46:41It took a long time, but I'm glad.
46:48Pietro, I didn't want to bring up the subject, but I'm very sorry about yesterday.
46:54I feel very bad seeing you like this.
46:57Don't worry, it's already forgotten.
47:01It's just that I don't stop turning it around and I don't know, I got nostalgic.
47:06For a moment it was like being together again in Italy, in our house.
47:12Lucia, I don't want to hurt you.
47:15Nor to be abrupt, but ...
47:17I don't know what you lived in America, but here I have redone my life.
47:23And I want to live it with Antonia.
47:26I wish my life in America would have been half as good as yours.
47:32I had to do horrible things there.
47:35Things I don't even want my enemies.
47:39It would be complicated to move and live in a foreign country, learn a language.
47:44It wasn't easy for me either.
47:46Oh Pietro, the time has come to tell you the truth.
47:51In America I not only had to forget about you.
47:55I forgot about me too.
47:58I've been trying to tell you for a long time, but ...
48:02I'm afraid of what you might think of me.
48:07I don't want you to tell me what hurts you.
48:10I imagine it was hard and complicated, but thanks to Marc you found a job, right?
48:16And this is the important thing.
48:18Marc.
48:20What I told you about Marc is not true.
48:23It's true that he helped me survive.
48:26But in return, I had to work for him.
48:30And you don't know how hard that is.
48:33What do you mean, Lucia?
48:37What you imagine.
48:39For him, I was nothing more than a commodity.
48:43It took me a long time to realize that,
48:46but by then I was already in a world from which it was impossible to leave.
48:54I was no longer a wife, nor a mother, nor anything.
49:00I was a nobody.
49:02My God.
49:05I'm very sorry.
49:09I'm very sorry.
49:11There are a lot of bad people in this world, right?
49:15But you did what you had to do to survive.
49:19No, Pietro.
49:20I felt like one of them for what I did.
49:23How could I meet my family again after everything?
49:30It was many years.
49:33Many endless nights.
49:37I was no longer the same as before, Pietro.
49:40I became another person.
49:42No.
49:43It's not like that. They turned you.
49:45I even felt disgusted with myself.
49:52Do you know what was the only thing that reminded me of who I was?
49:58The last picture we took together.
50:02Sometimes I looked at it and it gave me strength.
50:07And other times I wasn't even able to look at it.
50:11I'm very sorry.
50:14When Marc died, I took all the money I had saved
50:18and I was finally able to escape from that nightmare.
50:21If it weren't for you, I would never have been able to escape from that life.
50:27I dreamed of the day when we would meet again.
50:31I didn't know how I was going to be able to explain all this to you,
50:34but I knew that one day I would.
50:39And I would feel again like before.
50:43To be the same Lucia as always.
50:46Through your eyes.
50:49Now that you know everything, I understand that you don't want to see me again.
50:53No.
50:54That's not going to happen.
50:57I still admire you.
51:00Even more, Lucia. Even more.
51:04You are a very brave and strong woman.
51:12Give me your hand.
51:22I hear you, Ben.
51:25But I don't want you to have illusions.
51:31My heart belongs to Antonio, Lucia.
51:35You were my first love.
51:38You are the mother of Giancarlo,
51:41but we can't live as if we were still living in the past.
51:47I understand.
51:50Each one on their own.
51:53Each one on their own.
51:58And I will always be here to help you, like now.
52:02Always.
52:05But our paths are different.
52:13Okay?
52:15Okay.
52:17This afternoon I saw Mrs. Bárbara go out to the garden of the palace with a tray of food
52:22and she has gotten into the basement.
52:24Is it clear?
52:25She is alive and she is in that basement.
52:28Imagine that every night I go to sleep under the same roof with another man.
52:32A man who has the right to be with me even if I don't want to.
52:35I have taken advantage of your confidence and I would like to fix it.
52:38Let me be a little skeptical about your good intentions.
52:42But the fact is that Clarita was spending the afternoons with her friend, right?
52:45This partner of hers.
52:47Yes, with Susana.
52:48But Susana doesn't live in our neighborhood.
52:52A little weird.
52:53Sometimes I report you and you end up in jail.
52:56But you can't leave by knocking on the door.
52:58I have to know if I have a partner or not to make a decision.
53:01Maybe it's not worth it for me to get out of the car alone.
53:04I know, Laura, but I need a little more time.
53:06Do you realize that this makes me lose a lot of plans?
53:08Laura, and do you realize that if I can't tell you yes or no, it's because I don't even know it myself?
53:13I ask you, please, a little more patience.
53:15A little more patience?
53:17Touch your nose.
53:23Maybe we should talk about what's going on, right?
53:26My father wants to marry me to the daughter of the Bennet family.
53:28A rich family with wineries in Jerez.
53:30But what is this woman doing here?
53:32I don't know, but I don't understand anything.
53:35But she's going to get into Mr. Fermin's office.
53:38Vanessa Bennet, Sakurai Sinclair.
53:42I'm not interested in books.
53:45You'll have to learn to grow wine.
53:47I'll tell my father that you agree with our demands.
53:50Well, I don't.
53:53I'm very tired of this subject.
53:55Are you going to sign the annuity papers?
53:57That's all I care about.
53:58No, I'm not going to sign those papers.
54:00Let everything be the way it was before.
54:04Everything... we'll see.
54:08Inspector Jiménez is going to register Carla's house this afternoon.
54:15But that's very good news.
54:17He even told me that we can accompany them in the registration.
54:20But that's irregular.
54:22It is, but it doesn't matter.
54:24That something as beautiful as what we were building between the two of us
54:27was torn off as if it were a bad weed.
54:30And all because of the evil of a person.
54:32I'm going to talk to my uncle and we're going to clear things up between you.
54:35Because of your uncle, I feel something that...
54:38I never thought I would feel at this age.
54:41There's no one else in the house, then?
54:44As far as I know, no.
54:45No one.
54:46Not even Carla?
54:48Mrs. de Morcuende, are you there?
54:52Mrs. de Morcuende!