Salón de té La Moderna - Ep 225
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00:00A FEW HOURS LATER
00:06Oh, God. Oh, God.
00:09Oh, Babylon, I'm so dizzy.
00:11I'm sorry, Mrs. Chilo. No, no, it won't happen again.
00:14I'm sorry. Goodbye.
00:16You two, what are you doing here?
00:18Fifteen years, but how did you manage to get in singing La Iva?
00:21Oh, really, but with what you've insisted on me singing,
00:23and now you want me to shut up.
00:25But one thing is that you sing at home,
00:27and another that you're out there with such scandalous songs.
00:29But since when? The Pharaoh's court is scandalous.
00:32La Iva, La Iva, with the censorship we've come across.
00:36With the censorship, not with the neighborhood.
00:38Eat and shut up.
00:39Put the table down, I'm going to change.
00:41Get some cups and a tablecloth down there.
00:47I don't get off my head at night in the cabaret.
00:52What we're not going to get off is the bad body we're going to have this afternoon.
00:56Well, we had to celebrate.
00:58Yes, but all night standing, dancing and drinking,
01:01it's not the best treatment for my vocal cords.
01:05Who knows?
01:07Maybe what I needed was to bring joy to the body.
01:11I had forgotten that they bring me the genre now, first thing in the morning,
01:15so I have to go.
01:17Are you leaving already?
01:18Yes, I'm sorry.
01:20But don't you want to eat anything?
01:22No, later I'll eat something at La Moderna,
01:24if the delivery guy is waiting for me.
01:26Let me accompany you.
01:27No, no, no, don't worry.
01:29Take care.
01:30See you.
01:46We have to report.
01:50My love,
01:52if we want to convince them to enter that house again,
01:55we need something more than Jacobo's statement.
02:04I know it's difficult for you.
02:07When you said you saw Carla,
02:11we all doubted you.
02:15I'm willing to tell what I saw.
02:19But for that I would also have to tell about Dr. Mendoza and everything that has happened.
02:23Yes, yes, I think it's very good.
02:25We kill two birds with one stone.
02:27That man doesn't deserve to grow up.
02:30Then you have to talk to Inspector Jiménez.
02:33The complaint has to reach the people responsible for the case
02:35so they can take it to court,
02:37so the judge can reopen it.
02:39Yes, yes, yes, of course, it will be complicated,
02:41but I will ask Jacobo for help.
02:43I'm sure he will do it well.
02:47My love,
02:50if you don't want to,
02:52you don't have to report.
02:53We'll find a way.
02:56I'm imagining myself
02:57sitting in the police station with a cop
02:59telling me that Carla is dead
03:00and that everything is my imagination.
03:02No, that's not going to happen.
03:04Because it will be me
03:06who will file the complaint.
03:08I will tell them what Fabi told me yesterday.
03:10That's it.
03:11I will tell them what Fabi told me yesterday.
03:13That's it.
03:14But that's a deduction of yours,
03:16mere speculations.
03:17Yes, I know, but it's a thread to pull
03:19and I'm sure that if they press him,
03:21he will end up saying what he knows.
03:24That Carla is alive.
03:26Exactly.
03:30My love, we have enough to file that complaint.
03:35I know what I saw.
03:36I have no doubt.
03:38But I don't want to go crazy again.
03:40No, and that's never going to happen.
03:42I've already told you.
03:43Because it will be me
03:44who will talk to the police.
03:47And I'm sure that this time it will be different.
03:50This time Carla will leave her house
03:52with the handcuffs on.
03:54And you and I
03:56will be able to forget her forever.
04:08Tell Mr. Juan Ramón that the lemon paste is not ready yet,
04:11but as soon as we have it,
04:12Juan Mozo will upload it to the studio.
04:14He has it before noon.
04:21Do you have a moment?
04:23Are these the lemon paste?
04:24Yes, freshly made.
04:26But how come you didn't tell me anything before?
04:27We had ordered three dozen for the architects.
04:30But you told me they were ready by ten.
04:33And it's ten to a quarter.
04:34And you haven't seen Mr. Juan Ramón's partner here?
04:36He came for the order.
04:38I'm sorry, I didn't mean to interrupt.
04:41It's okay.
04:42Sorry, what did you want?
04:44Nothing.
04:45Bring you the pasta and...
04:49And you said that yesterday I talked to Lucia.
04:52Yes, I imagine you would talk.
04:54It's clear, after spending so much time together,
04:56you wouldn't be there like two dead, right?
04:58Well,
05:00I see you're not in the mood.
05:01I'll come later.
05:02Pietro, I'm not going to be in the mood either,
05:04but if you want to tell me something, do it now.
05:09I told her to forget all that.
05:11What's all that?
05:13All that is that she forgets to stay here in Madrid
05:17and that she doesn't get her hopes up with me.
05:22Don't you believe me?
05:24I'm listening to you.
05:25Nothing.
05:27Antonia, it seems that whatever I do
05:30is never enough for you.
05:34That's unfair, isn't it?
05:36Put yourself in my place for a second.
05:41You're right.
05:42I'm sorry, I'm sorry.
05:44Imagine that every night I'm going to sleep under the same roof
05:48with another man.
05:50A man who has the right to be with me, even if I don't want to.
05:56You're right.
05:58But Lucia knows that nothing will happen between us.
06:01That we're not going to be together.
06:03Whatever happens,
06:06Antonia, I'm going to ask for a marriage annulment.
06:09If it's done like that.
06:12Marriage annulment?
06:13Yes.
06:14To get married, you and me.
06:18Well, I understand that it's not that easy.
06:20Especially if she doesn't agree.
06:22Yes, but we can't deny it.
06:24Of course we can deny it.
06:25Pietro, please, don't be naïve.
06:27One thing is that you tell her that you don't want to be with her.
06:29And the other thing is that she's willing to sign some papers
06:32to annul her marriage that was supposed to last forever.
06:36She'll sign them.
06:37I'm convinced.
06:39Lucia is not a bad person.
06:40I'm not saying she's a bad person.
06:42She's not good either.
06:43I'm just saying that I'll believe the annulment when I see the papers she signed.
06:46And another thing is that the church also allows it.
06:48It's not that easy.
06:49I know, it's not easy.
06:50Yes.
06:51But neither the church, nor Lucia, nor anyone can separate us.
06:55Antonia, if you and I decide to be together, we will be together.
07:00No one can separate us.
07:03Pietro.
07:08Tell a colleague to come get the money, please.
07:24What a night, right?
07:27Yes, yes.
07:34Maybe we should talk about what's going on, right?
07:39The coffee.
07:41You have to see how much Agustín cares about preparing your performance.
07:44The truth is that yes.
07:45Singing here is a way to turn the page and start again.
07:48You'll see that after this, nothing can stop your success.
07:54Here you have a mistela for Miss Laura.
07:59And a Gin Fitz for Inés.
08:02But how do you know I like this cocktail?
08:04Well, it was the cocktail you asked for the day we met.
08:07In fact, I think it was at this very table.
08:11By the way, Laura, when I finish the song, would you like to dance?
08:15Yes, but we can't leave my sister alone.
08:17No, no, I don't care.
08:19Don't deprive yourself of anything for me.
08:21Excuse me, but I'm such a good dancer that I can dance perfectly with both.
08:25Well, you'll have to prove it.
08:34The first few times always cause some concern in anyone.
08:38I have nothing to do with it.
08:40Yes, but more concern is caused by the second chances.
08:44And I assure you that without you, I would not have been able to sing again.
08:49So I thank you from the bottom of my heart.
08:54I have always loved you very much.
08:57The question is why not do it if this little star Castro told you that I would sing again.
09:01Everyone who knows you has a lot of faith in you.
09:05Now you just need to have it too.
09:08And then we will go very far.
09:15How do you like the coffee?
09:19I don't know.
09:22Well, I'll just put it alone and I'll pour you whatever you want.
09:42Maybe I should go.
09:45But don't you drink coffee?
09:49I don't want to get burned.
10:09I'm already here. What happens now?
10:11Thank you for coming so fast.
10:14Do you want to drink something?
10:16You're going to prepare it yourself, having the service working to vary.
10:20I don't deserve you to speak to me in that tone, Fabio.
10:23What you deserve is that I report you and you end up in jail.
10:27Well, I guess I would be outraged in your place too.
10:34What do you want? Don't waste my time.
10:37Come, please sit down. Sit down.
10:45A ship is leaving for Cuba from Lisbon tomorrow morning.
10:49Tomorrow morning? So soon?
10:52Yes. I'm desperate, Fabio. Can't you see how Carla is?
10:56I've spent a fortune on tickets that have gone to waste.
11:00Now I'm more or less convinced.
11:02After what she told me yesterday, I wouldn't say I'm very convinced.
11:07You know how proud she is.
11:09I can convince her to leave.
11:11I know, but I'll never convince her to give up in front of you.
11:15Do you have contacts in Portugal?
11:18I would need to be sure that they won't stop her at the border.
11:22What exactly are you asking me?
11:24Oh, I don't know.
11:28I guess I have no right to ask you anything.
11:31Your daughter already has a fake passport.
11:34She shouldn't have any problems.
11:36I know.
11:38But you know how unpredictable this woman is.
11:42You know, I'm nervous.
11:44What will happen when she crosses the border?
11:46Well, we'd better keep an eye on her.
11:49If they stop her with a fake passport and identify her,
11:53you and I will have to answer a lot of questions.
11:56Fabio...
11:57No, no, no, you don't need to help me.
11:59I'm not going to get involved in this more than I already am.
12:02Make sure Carla leaves Spain, or pay attention to the consequences.
12:06Wait. There's something else.
12:11I'd like you to come for dinner tonight.
12:14Just you and me.
12:16What are you playing at, Barbara?
12:19Fabio, I know I've made a lot of mistakes.
12:24Mistakes? You mean crimes?
12:28I've taken advantage of your trust, and I'd like to fix it.
12:32Let me be a little skeptical about your good intentions.
12:36Well, allow me to follow some of your advice.
12:41For example, sell the gallery premises.
12:45Come for dinner tonight.
12:47Bring the contracts.
12:49We're going to do what you recommended from the beginning.
12:53We're going to sell the premises to the tenants.
12:56It's for the best, isn't it?
12:58That's what I think, but your daughter doesn't agree.
13:01After all, my daughter is dead.
13:03She has no power of decision.
13:06You've seen that she doesn't know what's best for her.
13:09What she needs is cash.
13:12We're going to sell.
13:14What's wrong? Why are you looking at me like that?
13:17I've been telling you for weeks that you should sell,
13:20and you've always refused.
13:22And I've been trying to convince Carla to leave the country for weeks.
13:26Things aren't that simple, Fabio.
13:30Will you come tonight?
13:31Will you come tonight?
13:38I'll be back tonight with the contracts.
13:41We'll see about dinner.
14:02Hello. You're early.
14:05Yes.
14:07Has the distributor come?
14:09Yes, I've put everything in the warehouse.
14:13I'm sorry I couldn't open it for you.
14:15No, don't worry.
14:17I wanted to come early to check the photos I took of Marcial Lalanda.
14:21I haven't finished deciding.
14:26Which one do you like better?
14:29This one or this one?
14:32I like this one better.
14:37That's what I thought.
14:40I don't know, it looks more natural.
14:42It shows a more human face, closer.
14:47Well, let's not talk about it anymore.
14:49This one.
14:51Thank you. I couldn't decide.
14:54Elia, speaking of deciding,
14:57have you already decided if you're going to Germany?
14:59Yes, I've decided if I'm going to Germany.
15:01If you leave, there's a lot to fix.
15:03I know.
15:05But you can't leave just like that.
15:07I have to know if I have a partner to make a decision.
15:09Maybe it's not worth it for me to leave alone.
15:11I know, Laura, but I need a little more time.
15:14A little more time? How much time? Are we good?
15:17I don't know.
15:19Right now, the agency of Estrellita Castro doesn't give life signals.
15:21I've sent them a message and that's it.
15:23I went to the office and there was no one there.
15:25Have you tried calling?
15:27Of course.
15:29Do you realize that this makes me lose a lot of plans?
15:31Laura, do you realize that if I can't tell you yes or no,
15:34it's because I don't even know it myself?
15:36I need to know what my immediate future is going to be.
15:38And a lot of that depends on your decision.
15:40I know, Laura, I know.
15:42I'm dealing with very busy people
15:44and it's hard for me to get an answer.
15:46I ask you, please, a little more patience.
15:49A little more patience?
15:51Don't be ridiculous.
15:55Look, Laura,
15:57I'm very sorry for all the damage I'm causing you.
16:00It's the last thing I wanted.
16:02Don't worry.
16:04You'll have to wait a little longer and that's it.
16:06I promise I'll keep insisting so they give me an answer.
16:09I promise you.
16:11Okay.
16:13Please, don't be mad at me.
16:16Okay.
16:18Don't worry, everything will be fine.
16:21Well, I'm going to go through the agency again.
16:26Okay.
16:42Good morning.
16:44Not so good, right?
16:46What's wrong?
16:48It's this knee that's killing me.
16:50Shall we have breakfast?
16:52A hangover and insomnia.
16:54Insomnia?
16:56I'm not talking about the lines I gave you
16:58and you snored and everything.
17:00No, I fell asleep.
17:02I slept, but after a few hours I woke up
17:04and I stayed up all night with my eyes like plates.
17:06Of course.
17:08I haven't slept a bit today.
17:10But you were sleeping a minute ago.
17:12Miguel, can you stop saying when I sleep and when I don't sleep?
17:14I say I know better than you.
17:16And if you don't want to go get my book, I'll go.
17:18I just can't get it in my head.
17:20What's it that you can't get in your head?
17:22Can't you have normal desires like everyone else?
17:23Ah, of course.
17:25Now he's an expert on desires.
17:27He's an eminence in the world of desires.
17:31Of course he is.
17:33In all of God's life, desires have always been about food.
17:35That's what my cousin Sonsoles said
17:37when she had the urge to listen to Beethoven's Fifth Symphony.
17:40Damn, with your family, everyone is very cult, right?
17:42The symphony, the Divine Comedy.
17:44Thank goodness you didn't feel like going to McDonald's
17:46because I had to bring you here to Ramón y Cajal.
17:48Cajal, you're very funny
17:50and very grumpy and very, very, very exaggerated.
17:53Let's see, I'm just asking you for a book.
17:55Nothing more. And you're a bookseller,
17:57so it's the easiest thing to do.
17:59But if I don't say it's difficult,
18:01but look what I'm wearing.
18:03And besides, our situation is dangerous.
18:05Well, it's also dangerous to stay up all night without sleeping.
18:08And I can't sleep
18:10because I can't stop thinking about the Divine Comedy.
18:13Well, let's think about something else.
18:16Really? About what? Let's see.
18:18For example, what are we going to say
18:20when we go back to the modern one?
18:21Who will ask us how the wedding went?
18:23Who came to the invitation?
18:25I was going to say that three or four of my uncles came,
18:28the only ones who are still alive.
18:30Three or four is a bit strange
18:32that you don't know how many uncles you have alive or dead.
18:34Well, it's true. Three.
18:36And what are their names?
18:38Obdulio, Paco and Bonifacio.
18:40Obdulia, because there has to be a woman.
18:42And Ramona.
18:44And Obdulia is Pepe's wife.
18:46Pepe is your political uncle.
18:48And what else?
18:51I don't know.
18:58Antonia, do you know where Matilde is?
19:00No, I haven't seen her.
19:02Did she have to come to work today?
19:04Yes, we had to settle some budgets.
19:06She should be here by now.
19:08Maybe Clarita has gotten sick.
19:10Well, if you see her, tell her I'm in the dining room upstairs.
19:12I'll tell her.
19:17Felisa told me that she had seen Clarita through the corral.
19:19Have you seen her there?
19:21Through the corral?
19:23Yes.
19:24No.
19:26I thought it was very strange that she came and didn't greet us.
19:28I don't know, maybe she got confused with Felisa.
19:30Maybe she's starting to miss Felisa's sight
19:32after looking out the window so much.
19:36But the thing is that Clarita was spending the afternoons
19:38with her friend, right?
19:40This partner of hers.
19:42Yes, with Susana.
19:44Well, Matilde told me that she went with her every afternoon.
19:46Yeah, but Susana doesn't live in our neighborhood.
19:49It's a bit strange.
19:51Well, I don't think it's important, Antonia.
19:53You know that Felisa has a lot of imagination.
19:56Well, it's not hard for me to talk to Matilde.
19:58The girl is at a very bad age
20:00and lately she's been very rebellious.
20:02But it's normal with everything she's been through.
20:04It's normal that the girl is a bit misplaced.
20:06You're right, Emma, to assert that everything is fine.
20:09I'm going to work. We'll talk later.
20:10I'm going to work. We'll talk later.
20:17So, Obdulia and Bonifacio
20:21are your father's brothers or your mother's?
20:24I don't know. My father's.
20:27And in this story, your mother is the only child?
20:30No, she's not the only child.
20:32Then why don't your uncles go to the wedding?
20:35They're dead and the dead don't go to weddings.
20:37And why did they die?
20:38Well, you're intoxicating me.
20:40Well, son, you were the one who said
20:42we had to know what we had to say, right?
20:44Yes, but I don't think they're going to interrogate us
20:46as if we were suspects of a crime.
20:48Well, I don't know, since we're making up a story,
20:50at least make up a story that's believable.
20:52Not like you, who doesn't believe anyone.
20:54Hey, I'm sorry, but you don't know how much my knee hurts.
20:56And all since you got involved in that fucking book.
20:58When my cousin Sonsoles
21:00wanted to listen to Beethoven's Fifth Symphony,
21:04her husband went all over town looking for that record.
21:06Well, your cousin's husband is a boss.
21:08No, my cousin's husband is a good husband and a good partner.
21:11He didn't just look for the record,
21:13but also a gramophone, because he didn't have one.
21:15And tell me something, my love,
21:17if I hadn't gotten it,
21:19what would the boy's spot be like?
21:21Would it have a disc shape, a gramophone,
21:23or would he have a pentagram-shaped moon?
21:25Look, you know what? I don't need you.
21:27Aren't you going to get the book?
21:29Well, I'll go. That's it.
21:31Get out of my way.
21:33But where are you going? You're crazy.
21:34You're crazy.
21:36Oh, my God.
21:38Oh, my God, it can't be.
21:40He's healed his ass.
21:42It's a miracle.
21:44Okay, okay. I'm not crazy.
21:46Well, you're going to be if you don't get out of here,
21:48because I'm going to kick you in the back.
21:50But how are you going to get out in your pajamas like that?
21:52Come on, I'm going.
21:54I'm going, I'm going.
21:56Let's see if you calm down.
21:58Here.
22:02Where are you going with that?
22:04With that?
22:06Come on, get out of here.
22:23Mrs. Lázara.
22:25But, Laurita, why don't you open with your key?
22:27Well, before, I left it with the rush.
22:29Have you seen Mrs. Lázara?
22:31Yes, she's coming now to have a coffee,
22:33but you bring a lot of shopping, don't you?
22:36Have you invited Mrs. Lázara to have coffee?
22:38Yes, well, she's going to tell me her version
22:40of what happened with the guy.
22:42But why so much shopping?
22:44Well, for dinner.
22:46Hey, I don't think it's a good idea
22:48to get in the middle of what happened
22:50between Mrs. Lázara and the guy.
22:52It's none of our business.
22:54Well, the guy is having a hard time,
22:56but you bring a lot of shopping to have dinner just the two of us.
22:58I don't understand.
22:59Besides, Inés,
23:01I don't think the guy wants to make up with Mrs. Lázara
23:03after what I did to that maid.
23:06But, Laurita, they're already doing it.
23:09They're seeing each other outside of work again.
23:11And you could have told me you were going to have dinner together,
23:13because I was going to stay at home.
23:15Well, I was counting on you for dinner.
23:18But I don't paint anything here.
23:20But how are you not going to paint anything, Inés?
23:22It's your house.
23:24Yeah, but I don't know.
23:26Do you want to be alone, not with me as a carabiner?
23:27Well, I don't know.
23:29I thought you were staying.
23:31Besides, you're so close to Agustín.
23:33But close to what?
23:35You're not close to him.
23:37Well, I mean, he's helping you.
23:39I don't know, Inés, you're very risky.
23:41If you want to stay for dinner, you stay,
23:43if not, you don't.
23:45It will be Mrs. Lázara.
23:47Behave, please.
23:49As always.
23:54Mrs. Lázara, come in.
23:55Inés, dear, thank you for the invitation.
23:58This way?
24:03Laurita, how are you?
24:05Very well. Welcome, Mrs. Lázara.
24:25Hi, Marta. How are you?
24:27Fine. What happened?
24:29Nothing happened. Why would something happen?
24:32I don't know, because you didn't show up to introduce me to your father yesterday.
24:35You've been waiting a long time.
24:37You know what happened?
24:42My father wants to marry me to the son of the Bennet family.
24:45A rich family with wineries in Jerez.
24:47Excuse me?
24:49I told him not to talk about the hairdresser,
24:51that I was very in love with you and that I wasn't going to marry that girl.
24:53But you don't know how he reacted.
24:55His ears were on fire.
24:57So, what's the deal?
24:59The deal is that I'm going to tell her.
25:02Her? Who?
25:04The daughter of the English?
25:06Yes. Her name is Vanessa and she's about to arrive.
25:09Ah, you're going to tell her.
25:11So, your father is going to win.
25:14No, no, no. Don't get me wrong.
25:16I'm not going to tell her. My father is going to tell her.
25:18I'm going to receive her out of courtesy,
25:20but I'm going to tell her to forget about marriage and commitments
25:23and that I'm going to take care of my books and she's going to take care of her wines.
25:26And if you don't want anything to do with her, why are you making an appointment?
25:29I haven't made any appointments.
25:31But I'll have to make a gesture to make her see that I'm listening to her.
25:35Yes, that you're listening to her.
25:37And more, that you're going to listen to her and you're going to do whatever he tells you, as always.
25:40But Marta, why do you say that?
25:42Ah, look, well, maybe you can get something good,
25:44maybe you can give her a winery in Jerez or, who knows,
25:47some property in England, right?
25:49But Marta, I love you. I'm not going to marry her.
25:53I'm not going to marry her.
26:01Are you Salvador?
26:03Yes, and you are Vanessa.
26:06Vanessa Bennett Zachary Sinclair.
26:08Nice to meet you.
26:13And how many places does your family have in Madrid?
26:24Black people.
26:26It's the only word I can find to describe them.
26:29The working hours were endless,
26:32the employees were at the limit of their strength.
26:35I warned them many times that a misfortune was going to happen.
26:38Poor girl.
26:40But, and how is that girl now?
26:43She's in a bed.
26:45She can't stand for herself.
26:47What a horror, really.
26:49Such a young woman.
26:50And all for the greed of my bosses.
26:53It's the only way I can find to explain
26:56that they had us subjected to that state of slavery.
26:59And all for money.
27:02I thank God that in the end they fired me.
27:05But, and why didn't you leave before?
27:08Right now, please.
27:10No, no, no, no, really.
27:12It's a legitimate question.
27:14I've also asked myself many times.
27:15Sincerely.
27:18I think I did it because I felt
27:21that I had to take care of all those people.
27:24That someone had to face them.
27:26To be by their side.
27:29But, did you tell my uncle like that?
27:32Of course I did.
27:34Your uncle has always been a saving grace for me.
27:38He has taught me that there are
27:41other ways to live.
27:42He has taught me that there is
27:44another kind of businessman.
27:46A fair, equal, human businessman.
27:49Close in the deal.
27:53What happens is that Maria Cristina has always envied me.
27:58But she has told it in a totally different way.
28:02Yes, but my uncle is not fooled so easily.
28:06And do you really love him?
28:10Oh, Inés.
28:13I feel something for your uncle that
28:16I never thought I would feel at this age.
28:19But if you are young.
28:23What I regret the most is not the job.
28:26It is
28:29that something as beautiful as what we were building
28:32between the two of us, they have torn it off
28:34as if it were a bad herb.
28:36And all for the evil of a person.
28:37Well, don't worry.
28:39I'm going to talk to my uncle
28:41and we're going to clear things up between you.
28:43No, no, really.
28:45I don't want to commit you to that.
28:47You leave us,
28:49if in the end we all want the same thing.
28:51Your happiness.
28:53You are so good to me.
29:02If you think we can review what we have talked about,
29:05I assure you that I did not leave anything.
29:07Everything has already been very clear to you.
29:09Better review.
29:11Let's see, we have talked about the children.
29:13Do you want to have four?
29:15Two boys and two girls, if possible.
29:17Well, it's in God's hands,
29:19but it doesn't matter to have it already in mind.
29:21More things.
29:23And you have already told me that I am not going to give the breast,
29:25that we will have a nipple.
29:27Plus, yes, the house.
29:29The separate service area from the family area.
29:31I don't want to mix too much with the servants.
29:33Better two different buildings.
29:35By the way, they will be Portuguese.
29:37Regarding the family business,
29:39I am not interested in books.
29:41You will have to learn to grow wine.
29:43Naturally.
29:45You are not going to start working in the winery.
29:47What nonsense.
29:50I will tell my father
29:52that you agree with our demands.
29:54Well, I don't.
29:59I have not said that I agree with everything.
30:01Let's go.
30:07Let's go.
30:30Please, tell me what it is.
30:32Yes, it's the Divine Comedy.
30:35I swear I would eat it.
30:41What's wrong with you?
30:43What's wrong with me?
30:45That your Divine Comedy has brought me a tragedy.
30:47Virgilio has taken me by the hand
30:49and has taken me to hell itself.
30:51Why? What's wrong? What do you mean?
30:53That I have crossed paths with Don Salvador in the bookshop.
30:55But how?
30:57But what was Don Salvador doing in a bookshop that is not his?
30:59Well, you see, buying books.
31:01In Casa de Herrero, stick knife.
31:03Oh, mother, but then you are recognized.
31:05He had a face up to the eyebrows
31:07and was against the light.
31:09In addition, when I saw him by the corner of my eye,
31:11I turned my back.
31:13So he hasn't seen you?
31:15Yes, yes, he has seen me,
31:17by the reflection of a mirror that was there.
31:19It was only a few seconds, but we looked at each other.
31:21And he has recognized you?
31:23No, not there.
31:25What happens is that at that moment
31:27such a panic attack has entered me
31:29that I have run away.
31:31And on the way, I have thrown an exposer,
31:32and I have run away.
31:34Oh, mother.
31:42I would have to be courting some budgets in La Moderna.
31:45There will be Teresa climbing the walls.
31:47But it is that until Ñigo returns, I will not go.
31:50But she left a long time ago.
31:52Do you want us to call the police station to see?
31:55No, let's wait ten more minutes.
32:00Well, tell me,
32:02how are you in Mexico? How about Seville?
32:04Very good, very happy.
32:06The truth is,
32:08I think it is the most beautiful city in Spain.
32:10And it smells very good.
32:12Because between the azar and all the oranges,
32:14which are everywhere and have the parks,
32:16the balconies full of bugambillos and all kinds of flowers,
32:18is that it is beautiful.
32:20How nice.
32:22And the music,
32:24the way they speak is ...
32:26I don't know if it's because of the novelty,
32:28but to me the Andalusian accent,
32:30at least the Sevillian,
32:32is very beautiful.
32:34Hello.
32:36Hello.
32:38Finally.
32:40Are you okay, honey?
32:42I'm euphoric.
32:44Inspector Jiménez
32:46is going to register Carla's house
32:48this afternoon.
32:51But that's very good news.
32:53He even told me
32:55that we can accompany them in the registration.
32:57But that's irregular.
32:59It is.
33:00But it doesn't matter.
33:02He is very grateful for the information.
33:04Apparently, Inspector Jiménez
33:06had been investigating Mrs. Bárbara for a long time.
33:08And with the information we have provided him,
33:10we have managed to convince the judge
33:12so that he can register the house.
33:15But do you think it's prudent to accompany them?
33:18Prudent or not,
33:20I'm not going to miss it.
33:22I'm looking forward to seeing that bastard's face
33:24when he gets married.
33:31Añete.
33:33Take the bill from table four.
33:36I gave you four kisses.
33:38But shut up, man.
33:40They're going to hear us.
33:42One thing.
33:44Can you tell by the look on my face
33:46that I'm excited
33:48to be by your side again?
33:51I'm happy too.
33:53Look, this morning I didn't realize
33:55and I went down the stairs
33:57and suddenly I see a neighbor
33:58looking at me like that.
34:00Well, well.
34:02Look at people's faces
34:04when they find out
34:06that we're together again.
34:08Unitrini.
34:10When he comes and finds the percal.
34:12Hey, don't you think it would be better
34:14to wait a few days before telling him?
34:16Yes, of course.
34:18As you wish.
34:20Son, I don't know how
34:22everything always goes wrong for me.
34:24It's like something is going to go wrong.
34:26Who is not going to spoil it, Teresa?
34:28And I don't have any ex-girlfriend
34:30who is going to show up here
34:32to set up any...
34:35Why open your mouth?
34:39But what is this woman doing here?
34:41I don't know, but...
34:44But I think it's better not to say anything.
34:47They're not going to catch him.
34:49But look, he's going to get into
34:51Mr. Fermin's office.
34:53I don't understand anything.
34:59Thank you for welcoming me.
35:02Sit down, please.
35:08I'll be brief.
35:10I won't take up much of your time.
35:12I just wanted to...
35:14tell you how I feel
35:16about what happened in the warehouses.
35:20I'm listening.
35:23It's been many nights
35:25without your return.
35:26It's been many sleepless nights.
35:30Many confessions and many hours
35:32in the church,
35:34seeking consolation.
35:36And now I know I'm not to blame
35:38for what happened to that poor girl.
35:40Although maybe I am responsible.
35:47I'm not to blame
35:49because I didn't want anything bad to happen to her.
35:51And I wasn't the one who made her work
35:53until she almost gave up.
35:56But I was able to raise my voice
35:59and I was able to face my superiors.
36:02Well, you warned them, didn't you?
36:04But it was useless.
36:06And I'll never forgive myself
36:08for having continued to work there
36:10knowing that other colleagues were suffering.
36:14It's not easy to face the boss.
36:17No.
36:21Not all bosses are like you, Mr. Fermin.
36:24When people
36:26work driven by greed,
36:28like my former bosses,
36:30they don't listen to reason.
36:33But I could have given them an ultimatum
36:35and I didn't.
36:37May God forgive me for that.
36:39I didn't, Mr. Fermin.
36:42Well, well.
36:44It would be better
36:46if we calm down, Mrs. Lazaro.
36:51I promised myself
36:53that I wouldn't make a scene.
36:55I'm a fool, forgive me.
36:57Mrs. Lazaro,
36:59you have to learn to forgive yourself
37:02and not demand so much.
37:04You did what you could.
37:06Anyone else in your place
37:08wouldn't even have opened their mouth.
37:10You showed a lot of courage by raising your voice.
37:12But it was useless.
37:14That's it.
37:16So stop crying.
37:18It's all clear now.
37:19I'm sorry
37:21I had to go through what happened,
37:23but understand that it was my duty
37:25and my obligation
37:27to contrast the information.
37:29Of course.
37:31I would have done it with any employee.
37:35And regarding Teresa,
37:40I hope there won't be any more arguments between you two.
37:44Understand that she acted
37:46guided by her sense of duty, right?
37:47Nothing else.
37:51So,
37:53if you are willing to forget
37:55this unpleasant incident,
37:57I, on my part,
37:59will be delighted
38:01that I can work as a manager again.
38:03With immediate effect.
38:06Nothing would make me happier, Fermín.
38:09I want everything to be like before.
38:15Everything
38:18will be fine.
38:22For now,
38:24go back to work.
38:28They say that
38:30time heals all wounds,
38:32doesn't it?
38:37Thank you very much
38:39for giving me the opportunity to explain.
38:41No, there's nothing to thank.
38:43I'm glad
38:45to have her back among us.
38:47I'm sorry.
39:18I don't have rosemary.
39:20And without rosemary, the sauce won't be the same.
39:22Well, I made the recipe
39:24and I want to follow it step by step
39:26because I want it to come out perfect.
39:28So I'm going to have to go shopping.
39:33Why are you so serious?
39:38Well,
39:40I don't like giving you so much work.
39:42No, no, but I do it with pleasure.
39:44If you don't believe me,
39:45I'd start cooking a new recipe
39:47that I don't like to cook.
39:49But it makes me happy to see you both like this.
39:51Besides, I'm fine to distract myself
39:53this week with Celia.
39:56Can you believe that now she says
39:58that she doesn't know if she's leaving?
40:01Laurita, do you want me to help you?
40:03I'll go get the rosemary.
40:05No, no, no, don't worry.
40:07You stay here, drink wine,
40:09talk about your things.
40:11Today I'll take care of everything.
40:13Now I'll be back. Watch the fire.
40:15Okay.
40:29I still have to leave soon
40:31because I have to be at the closing ceremony
40:34at the cinema.
40:36Yes.
40:38Sure.
40:40Yes, you have a business to attend to.
40:42And besides,
40:45I feel a bit out of place
40:47being here with you
40:49while your sister...
40:51Agustín.
40:53Please.
40:56I'm sorry.
41:09What's wrong, honey?
41:11Can't you get it?
41:12The only thing I can think of
41:14is that whore Antonia.
41:16Well...
41:18She doesn't know what she's getting herself into.
41:20She looks like a Marquis.
41:22Maybe she is, but...
41:28Forget about that.
41:30You have to focus on your future.
41:32That's what matters.
41:34Why don't you go to the study room?
41:36You won't concentrate here in the kitchen.
41:40Yes, that's true.
41:43By the way,
41:45could I talk to Susana's mother?
41:47Oh, yes.
41:49She left me worried.
41:51She said Clarita had only been at her house one afternoon.
41:53What do you mean one afternoon?
41:55I thought she went every afternoon.
41:57What about me?
41:59I don't know. I'll talk to Matilde.
42:01I'll go.
42:03You go to the study room.
42:09Good afternoon.
42:10Hello.
42:12Can we talk?
42:14It depends.
42:16You and I only have one thing to talk about.
42:18Do you know what it is?
42:20Can I come in?
42:23Come in.
42:33I know I'm not welcome in this house,
42:35and I know I've caused you and Pietro a lot of trouble.
42:40But I want to apologize for that.
42:43I don't want to bother you anymore.
42:46Look, I'm going to be very direct.
42:48Lucia, I'm very tired of this topic.
42:53Are you going to sign the annuity papers?
42:55That's all I care about.
42:57No, I'm not going to sign those papers.
43:02I'm not going to sign them because I've already signed them.
43:11I'm not going to sign them because I've already signed them.
43:32Operator.
43:34Colonel Excelsior, please.
43:36Good afternoon, I'm Fabio del Moral.
43:39Is it possible that Mrs. Bárbara de la Cruz is around?
43:43No?
43:45How strange.
43:47No, no, no.
43:49You don't need to give her any message.
43:55I didn't have to come.
44:05Bárbara.
44:07I'm in the living room.
44:17Can you tell me what's going on here?
44:19Mr. del Moral, here is the registration order.
44:22You better let Mrs. Bárbara know.
44:25Mrs. Bárbara de la Cruz is not at home.
44:28There is no point in directing this.
44:35I'm not trying to dilate anything.
44:37My name is not on this paper,
44:39so I have nothing to hide.
44:41I'm here because Mrs. Bárbara invited me to dinner,
44:43but she hasn't arrived yet.
44:45There's no one else in the house, then?
44:47As far as I know, no.
44:49No one.
44:51Not even Carla?
44:53Don't try to deny it.
44:55We are quite clear in which area of the house she is hiding.
44:58Follow me.
45:05Follow me.
45:15Mrs. de Morcuende, are you there?
45:20Mrs. de Morcuende?
45:28She's not here.
45:30But that's not possible.
45:32Someone had to tell her we were coming.
45:33I came this very afternoon
45:35when I made the decision to register the house.
45:39Inspector.
45:43Look.
45:45It's to put on wigs.
45:47And here's Carla's clothes.
45:49Maybe she's prepared to go out into the street
45:51without being recognized.
45:53But...
45:55Where could that woman have gone?
45:57Is it possible there's another way out?
45:59It doesn't seem so.
46:01Mr. Peñalver, you know Mr. de Moral better.
46:03He wants to interrogate him.
46:05Of course, Inspector.
46:07Wait.
46:09Look at this shelf.
46:31She's not here.
46:33I'm going to set up a search operation.
46:35Come with me.
46:37Follow me.
46:57You're going to register the house hand in hand.
46:59And the garden, too.
47:00If they're in any part of the house,
47:02you'd do well to say it now.
47:04Your words have a threatening tone
47:06that is very unpleasant.
47:08Besides, I have nothing to hide.
47:10Yesterday you practically confessed to me
47:12that Carla is alive.
47:14No, I didn't say that, Inigo.
47:16You didn't say it, but I made you understand.
47:18No, let's see.
47:20I'm responsible for what I say,
47:22not for what you understand.
47:24And honestly,
47:26I find it a bit grotesque
47:28that you give yourself as an investigator
47:30to get lost, Mr. Del Moral.
47:32Tell me where Mrs. Bárbara and Carla are.
47:34It's best for everyone
47:36to give themselves up for good.
47:38I have no intention of getting lost.
47:40I'm going to tell you everything I know.
47:42I'm going to collaborate with you
47:44and I'm going to assume my responsibility.
47:46But unfortunately,
47:48at this moment I have no idea
47:50where Mrs. Bárbara or Mrs. Carla are.
47:52So it's true.
47:55Carla is alive.
47:57And you knew it.
47:58No, I didn't say that.
48:00Inigo!
48:02Inigo,
48:04look what I found in the basement.
48:07It's Clarita's.
48:09But what does a Clarita's hat
48:11do in Carla's house?
48:13She has my sister.
48:15And this hat is hers.
48:17I took it to church on the day of my mother's death.
48:19I know it perfectly well.
48:21And a few days ago she told me she couldn't find it.
48:23She has my sister.
48:25We have to find her.
48:29I have no reason
48:31to cover for Mrs. Bárbara.
48:33Fabio, where is Carla?
48:35At this time?
48:37In Altamar, on the way to America.
48:39You are very brave.
48:41But why?
48:43For everything you are doing to regain your voice.
48:45And you are very lucky
48:47to have found Agustín.
48:49Someone who takes care of you
48:51and you know he won't leave you alone.
48:53I hope he gave the police
48:55all the information about the bar Carla is going to.
48:56Everything I know.
48:58Is he going to Italy?
49:00Yes, of course.
49:02But is that true? Are you sure?
49:04Yes.
49:06He has nothing left here, right?
49:08Are you sure he won't lock you up?
49:10I have always treated all my employees equally.
49:12Well, if I have made any difference,
49:14it has been because of their performance.
49:16But not because one seems kinder to me than the other.
49:18However, there are those who don't love me.
49:20Yes, I know.
49:22I know that Teresa and Cañete don't have her
49:23but I honestly don't understand why.
49:25Do you realize that right now
49:27I can already be fired?
49:29Oh, please.
49:31You don't have to bring up events.
49:33Maybe Don Salvador didn't see you.
49:35What do you mean he didn't see me? Of course he did.
49:37And that smell coming out of the subway, what is it?
49:39It's the smell of poverty.
49:41Of course, because in the subway
49:43only the poor will smell, right?
49:45She's been there since her period.
49:47And she's holding Salvita's arm
49:49as if they were already married.
49:51Has she noticed anything strange?
49:53Well, lately she's been acting strange at home.
49:55Yesterday I organized a dinner with Agustín
49:57to thank him for everything he's been doing for her
49:59and the atmosphere was very strange.
50:01Either you marry Vanessa
50:03or La Fregona will pay for the duck.
50:05Are you the ones in charge of cleaning the turntable?
50:07Yes, ma'am.
50:09What can I do for you?
50:11Ma'am, what I'm asked of you
50:13is that you do your job well
50:15because that turntable isn't as it should be.
50:17Is there something you want to tell me?
50:19Well, look...
50:21Nothing at all.
50:23Tell me, Teresa.
50:25What worries you?
50:27Well, look, it's not that I'm worried.
50:29It's just that it's a surprise for me
50:31to have it back.
50:33A pleasant surprise for everyone.
50:35Right, Teresa?
50:37What if Fabio is lying?
50:39What if these two are here?
50:41In Spain.
50:43Even in Madrid.
50:45We wanted to tell you something
50:47that worries us a lot.
50:49Yes, it's just that Clarita has been coming
50:50to pick her up.
50:52And from what I can see,
50:54she's alone.
50:56Not with Susana's mother.
50:58On her own.
51:00Yeah, Clarita told me something.
51:02You have to get her in trouble, Matilde.
51:04Yeah, Antonio.
51:06But she knows how to scold me
51:08about everything that's happened.
51:10No matter how much has happened.
51:12She can't go around scandaling
51:14without telling anyone
51:16that she's still a child.