Category
📺
TVTranscript
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 don't know, I was listening to Becket's rhymes
16:58and you snored and everything.
17:00No, I fell asleep, it's true that I fell asleep,
17:02but after a few hours I woke up
17:04and I stayed up all night with my eyes like plates.
17:06Of course.
17:08I didn't sleep a wink today.
17:10But you were sleeping a minute ago.
17:12Look, Miguel, 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 look for my book,
17:18I'll go.
17:20I can't think straight.
17:22What doesn't make you think straight?
17:24Can't you have normal desires like everyone else?
17:26I'm not an expert on desires.
17:28It's an eminence in the world of desires.
17:31Of course it is.
17:33In all of God's life,
17:35desires have always been about food.
17:37That's what my cousin Sonsoles said
17:39when she had the urge to listen to Beethoven's Fifth Symphony.
17:41Damn, with your family, everyone is very cult, right?
17:43The symphony, the Divine Comedy.
17:45Thank goodness you didn't feel like it.
17:47I'm paramedic because I had to bring you here
17:49to Ramón y Cajal himself.
17:51You're very funny and very complacent
17:53and very, very, very exaggerated.
17:54I'm just asking you for a book, that's all.
17:56And you're a bookseller,
17:58so it's the easiest thing to do.
18:00But I'm not saying it's hard.
18:02But look what I'm wearing.
18:04And besides, our situation is dangerous.
18:06Well, 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?
18:18For example, what are we going to say
18:20when we go back to La Moderna?
18:22People will ask us how the wedding went,
18:24but I was going to say
18:26that three or four of my uncles came,
18:28the only ones who are still alive.
18:30Three or four? It's 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?
18:55Antonia, do you know where Matilde is?
18:57No, I haven't seen her.
18:59Did she have to come to work today?
19:01Yes, we had to settle some budgets.
19:03She should be here by now.
19:05Maybe Clarita has gotten sick.
19:07Well, if you see her,
19:09tell her I'm in the dining room upstairs.
19:11I'll tell her.
19:15Felisa told me
19:17that she had seen Clarita in the corral.
19:19Have you seen her there?
19:21In the corral?
19:22No.
19:24I don't know, I thought it was strange
19:26that she came and didn't say hello.
19:28I don't know, maybe she got confused with Felisa.
19:30Maybe she's starting to miss Felisa
19:32after looking out the window so much.
19:36But the thing is,
19:38Clarita was spending the afternoons with her friend, right?
19:40This friend of hers.
19:42Yes, with Susana.
19:44Well, Matilde told me
19:46that she was with her every afternoon.
19:48Yeah, but Susana doesn't live in our neighborhood.
19:50A bit strange.
19:52It doesn't matter, Antonia,
19:54if you 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 out of place.
20:07You're right, Mata,
20:09to assert that everything is fine.
20:11I'm going to work, we'll talk later.
20:17So,
20:19Obdulia and Bonifacio
20:20are brothers of your father or your mother?
20:23I don't know.
20:25Of my father.
20:27And in this story,
20:29your mother is an only child?
20:31No, she's not an only child.
20:33Then why don't your uncles go to the wedding?
20:35They're dead, and dead people don't go to weddings.
20:37And why did they die?
20:39You're intoxicating me.
20:41You were the one who said
20:43we had to know what we had to say, right?
20:45Yes, but I don't think they'll interrogate us
20:47as if we were suspects of a crime.
20:48We have to make up a story,
20:50at least a story that's believable.
20:52Not like you, who doesn't believe anyone.
20:54Hey, I'm sorry,
20:56but you don't know how much my knee hurts.
20:58And since you got involved in that damn book.
21:00When my cousin Sonsoles
21:02wanted to listen to Beethoven's Fifth Symphony,
21:04her husband went all over town
21:06looking for that record.
21:08Well, your cousin's husband is a boss.
21:10No, my cousin's husband
21:12is a good husband and a good partner.
21:14He didn't just look for the record,
21:16but also a gramophone, because he didn't have one.
21:18If he hadn't got it,
21:20how would the kid's spot be?
21:22Would it have a disc shape, a gramophone,
21:24or a pentagram moon?
21:26Look, you know what? I don't need you.
21:28Aren't you going to look for the book?
21:30Well, I'll go. That's it.
21:32Calle C. de Aceros. Ale.
21:34But where are you going?
21:36Are you crazy?
21:38Oh, my God.
21:40My God, it can't be.
21:42He's healed his ass.
21:44It's a miracle.
21:46Okay, okay. I'm not crazy.
21:48I'll go. I'll go.
21:50I'll go and see if you calm down.
21:52Here.
21:56Where are you going with that?
21:58Well, I'm hiding my face
22:00in case I meet someone I know.
22:02You're such a pain in the ass.
22:04A pain in the ass?
22:06Yes, come on, get out of here.
22:11Divine comedy.
22:19Mrs. Lázara.
22:21But, Laurita, why don't you open with your key?
22:24Well, before, I left it with the rush.
22:27Have you seen Mrs. Lázara?
22:29Yes, she's coming now to have a coffee,
22:31but you bring a lot of shopping, don't you?
22:34Have you invited Mrs. Lázara to have coffee?
22:36Yes, well, she's going to tell me her version
22:38of what happened with the guy.
22:40But why so much shopping?
22:42Well, for dinner.
22:44Hey, I don't think it's a good idea.
22:45Getting involved.
22:47What happened between Mrs. Lázara and the guy
22:49is none of our business.
22:51Well, the guy is having a bad time,
22:53but he brings a lot of shopping
22:55to have dinner just the two of us.
22:57I don't understand.
22:59Well, I invited Agustín to dinner.
23:01Besides, Inés, I don't think the guy
23:03wants to settle with Mrs. Lázara
23:05after what he did to that maid.
23:07But, Laurita, they're already doing it.
23:09They're seeing each other outside of work again.
23:11And you could have told me
23:13you were going to have dinner together
23:15with Agustín.
23:17Well, I was counting on you for dinner.
23:19But I'm not painting anything here.
23:21How can you not paint anything, Inés?
23:23It's your house.
23:25Yeah, but, I don't know,
23:27you don't want to be alone with me.
23:29Well, I don't know.
23:31I thought you were staying.
23:33Besides, you're so close to Agustín.
23:35But close to what?
23:37You're not close to him.
23:39Well, I mean he's helping you.
23:41I don't know, Inés, you're very risky.
23:43If you want to stay for dinner, you stay.
23:45It will be Mrs. Lázara.
23:47Behave, please.
23:49As always.
23:54Mrs. Lázara, come in.
23:56Inés, dear, thank you for the invitation.
23:58This way?
23:59Yes.
24:03Laurita, how are you?
24:05Very well.
24:07Welcome, Mrs. Lázara.
24:15Come in.
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?
24:38What happened?
24:43My father wants to marry me to the son of the Bennetts.
24:46A rich family with wineries in Jerez.
24:48Excuse me?
24:50I told him not to talk about the wig, that I was very in love with you,
24:53and that I wasn't going to marry that girl.
24:55But you don't know how he got on.
24:57He got smoke coming out of his ears.
24:59And what's the deal?
25:01The deal is that I'm going to tell her.
25:03Her? Who?
25:05The daughter of the English?
25:06Yes, her name is Vanessa.
25:08And she's about to arrive.
25:10Ah, you're going to meet her.
25:12So your father is going to win.
25:14No, don't get me wrong.
25:16I'm not going to meet her.
25:18My father is going to meet her.
25:20I'm going to meet her out of courtesy,
25:22but I'm going to tell her to forget about marriage and commitments,
25:24and that I'm going to meet my books and she's going to meet her wines.
25:26And if you don't want to meet her, why are you making an appointment?
25:29I'm not making any appointments.
25:31But I'll have to make a gesture to make her see that I'm listening.
25:34Yes, that you're listening to her.
25:36And more, that you're going to listen to her
25:38and 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 rent some winery in Jerez,
25:46or who knows, some property in England, right?
25:48But Marta, I love you.
25:50I'm not going to marry her.
26:01Are you a saver?
26:03Yes, and you are Vanessa.
26:06Vanessa Bennett Zachary Sinclair.
26:08Nice to meet you.
26:13And how many wineries does your family have in Madrid?
26:27Negreros.
26:29It's the only word I can find to describe them.
26:32Their working days were endless,
26:34the employees were at the limit of their strength.
26:37I warned them many times that a misfortune was going to happen.
26:40Poor girl.
26:42But, and how is that girl now?
26:45She's in a bed.
26:47She can't stand up for herself.
26:49How horrible, really, such a young woman.
26:53And all because of my bosses' greed.
26:56It's the only way I can find to explain
26:59that we were subjected to that state of slavery.
27:02And all for money.
27:05I thank God that in the end they fired me.
27:08But, and why didn't you leave before?
27:11Right now, please.
27:13No, no, no, really.
27:15It's a legitimate question.
27:17I've also asked myself many times.
27:19Honestly,
27:22I think I did it because I felt
27:25that I had to take care of all those people,
27:26that someone had to stand up for them,
27:29to be by their side.
27:32But, did you tell my uncle like that?
27:35Of course I did.
27:37His uncle has always been a lifeline for me.
27:41He has taught me that there is
27:43another type of businessman,
27:45a fair, equal, human businessman,
27:48close in the deal.
27:52The thing is that Maria Cristina
27:53has always envied me.
27:56Of course, she has told it
27:58in a totally different way.
28:00Yes, but she doesn't fool my uncle so easily.
28:04And do you really love him?
28:08Oh, Inés.
28:11Because of your uncle,
28:13I feel something that
28:15I never thought I would feel at this age.
28:18But you are young.
28:19But you are young.
28:24What I regret the most is not the job.
28:27It is
28:30that something as beautiful
28:32as what we were building between the two of us
28:34has been torn away as if it were a bad weed.
28:36And all because of the evil of a person.
28:39Well, don't worry.
28:41I'm going to talk to my uncle
28:43and we're going to clear things up between you.
28:45No, no, really.
28:47I don't want to commit you to that.
28:49We all want the same thing.
28:51His happiness.
28:53You are so good to me.
29:02If you think we can review
29:04what we have talked about,
29:06I assure you that I did not leave anything.
29:08No, yes, I think everything has been very clear.
29:10Better review.
29:12Let's see, we have talked about the children.
29:14Do you want to have four?
29:16Two boys and two girls, if possible.
29:17More things.
29:19And you have already told me
29:21that I am not going to give the breast,
29:23that we will have a nipple.
29:25More, yes, the house.
29:27The separate service area from the family area.
29:29I don't want to mix too much with the servants.
29:31Better two different buildings.
29:33By the way, will they be Portuguese?
29:35The buildings?
29:37The servants.
29:39Regarding the family business,
29:41I'm not interested in books.
29:43You will have to learn to grow wine.
29:45Naturally.
29:47Yes.
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.
30:18Please, tell me what it is.
30:20It's the Divine Comedy.
30:24I swear I would eat it.
30:30What's wrong with you?
30:32What's wrong with me?
30:34That your Divine Comedy
30:36has brought me a tragedy.
30:38A tragedy.
30:40A tragedy.
30:42A tragedy.
30:44A tragedy.
30:45It has brought me a tragedy.
30:47Virgilio took me by the hand
30:49and took me to hell.
30:51Why? What do you mean?
30:53I ran into Don Salvador in the bookshop.
30:55But how?
30:57What was Don Salvador doing in a bookshop
30:59that is not his?
31:01Well, you see, buying books.
31:03In Casa de Herrera or Cuchillo de Palo.
31:05But then you are recognized?
31:07I was wearing the cap well down to my eyebrows
31:09and I was against the light.
31:11In addition, when I saw him by the corner of my eye,
31:13I turned my back.
31:15But we didn't look at each other.
31:17And he recognized you?
31:19No, not there.
31:21What happens is that at that moment
31:23I had such a panic attack that I ran out.
31:25On the way, I threw an exposer,
31:27almost ran over an old woman
31:29and it is impossible that she did not realize.
31:31That's it, that's it.
31:33I'm fired. What a disaster.
31:42I would have to be bargaining
31:43some budgets in La Moderna.
31:45Teresa will be climbing up the walls.
31:47But until Íñigo comes back, I'm not going to go.
31:50But she left a long time ago.
31:52Do you want us to call the police?
31:55No, let's wait ten more minutes.
32:00Well, tell me, Jacobo, how about Seville?
32:04Very good. Very happy, really.
32:07I think it's the most beautiful city in Spain.
32:09And it smells very good.
32:10Because between the azar and all the oranges
32:13that are everywhere and that have the parks,
32:15the balconies full of bougainvilleas
32:17and all kinds of flowers, it's just beautiful.
32:19How nice.
32:21And the music, the way they speak is ...
32:24I don't know if it's because of the novelty,
32:26but to me the Andalusian accent,
32:28at least the Sevillian,
32:30seems to me to have a special courtesy.
32:34Hello.
32:36Hello.
32:38Finally. Are you okay, honey?
32:41I'm euphoric.
32:44Inspector Jiménez is going to register Carla's house
32:48this afternoon.
32:51But that's very good news.
32:53He even told me that we can accompany them in the register.
32:56But that's irregular.
32:59It is, but it doesn't matter.
33:01He is very grateful for the information.
33:04Apparently Inspector Jiménez
33:05had been investigating Mrs. Bárbara for a long time.
33:08And with the information we have provided,
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
33:25when he gets married.
33:33Mañete.
33:35Take the bill from table four.
33:38I gave you four kisses.
33:40But shut up, man, they're going to hear us.
33:43One thing.
33:45Can you tell by the look on my face
33:47that I'm excited to be by your side again?
33:52And I'm happy too.
33:54Look, this morning I didn't realize
33:56and I went down the stairs like this,
33:58and suddenly I see a neighbor looking at me like this.
34:02Well, well.
34:03I'm looking forward to seeing people's faces
34:05when they find out we're together again.
34:07Unitrini.
34:09When he comes and finds Percal.
34:11Hey, and don't you think it would be better
34:13to wait a few days before telling him?
34:15Yes, yes, of course.
34:17As you wish.
34:19Son, I don't know,
34:21how everything always goes wrong for me,
34:23it's like something is going to go wrong.
34:25Who is not going to spoil it, Teresa?
34:27Mario, of course not.
34:29And I don't have any ex-girlfriend
34:31who is going to show up here
34:34so I can open my mouth.
34:38But what is this woman doing here?
34:40I don't know, but...
34:43But I think it's better not to say anything,
34:45they're not going to catch him.
34:47But look,
34:49but he's going to get into a nurse's office.
34:52I don't understand anything.
35:01Thank you for receiving me.
35:04Sit down, please.
35:10I'll be brief.
35:12I won't take up much of your time.
35:14I just wanted to
35:16tell you how I feel
35:18about what happened in the warehouses.
35:22I'm listening.
35:25It's been many sleepless nights.
35:29Many confessions
35:31and many hours in the church.
35:33Looking for consolation.
35:35And now I know
35:37that I'm not to blame
35:39for what happened to that poor girl.
35:41Although 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
35:53who made her work until she almost gave up.
35:56But I was able to speak up
35:59and I was able to face my superiors.
36:01Well, you warned them, didn't you?
36:03But it was useless.
36:06And I'll never forgive myself
36:08for continuing to work there
36:10knowing that other colleagues were suffering.
36:14It's not easy to face the boss.
36:16No.
36:20Not all bosses are like you, Mr. Fermin.
36:25When people work
36:27driven by greed,
36:29like my former bosses,
36:31they don't listen to reason.
36:35But I could have given them an ultimatum
36:37and I didn't, may God forgive me for that.
36:39I didn't, Mr. Fermin.
36:43Well, well.
36:45It would be better
36:47if we calm down, Mrs. Lázara.
36:52I promised myself
36:54I wouldn't make a scene.
36:56I'm a fool, forgive me.
36:58Mrs. Lázara,
36:59you're the one
37:01who has to learn to forgive yourself
37:03and not demand so much.
37:05You did what you could.
37:07Anyone else in your place
37:09wouldn't even have opened their mouth.
37:11You showed a lot of courage by speaking up.
37:13But it was useless.
37:15That's it, that's it.
37:17So stop crying.
37:19It's all clear now.
37:22What I regret
37:24is that I had to go through what happened,
37:26but understand that it was my duty
37:27and my obligation
37:29to contrast the information.
37:31Of course.
37:33I would have done it with any employee.
37:37And regarding Teresa,
37:42I hope there are no more arguments between you.
37:45Understand that she acted
37:47guided by her sense of duty, nothing more.
37:52So,
37:54if 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.
38:09For everything to be like before.
38:15Everything...
38:19We'll see.
38:23For now,
38:25I'm going to work.
38:28They say that...
38:30They say that time heals all wounds.
38:32No?
38:37I thank you very much
38:39for giving me the opportunity to explain.
38:41No, no. There's nothing to thank.
38:43I'm glad
38:45to have her back among us.
38:49If you'll excuse me.
38:55Bye.
39:21I don't have rosemary.
39:23Without rosemary, the sauce won't be the same.
39:25I want to go step by step
39:27because I want it to be perfect.
39:29So I'll have to go shopping.
39:34Why are you so serious?
39:39Well,
39:41I don't know how to give you so much work.
39:43No, no. But I love doing it.
39:45If you don't believe me,
39:47I'd start cooking a new recipe.
39:49I don't like cooking,
39:51but it makes me happy to see you both like this.
39:53Besides, it's good for me to distract myself.
39:55Julia,
39:57can you believe that now he says he doesn't know
39:59if he's leaving?
40:01Laurita, do you want me to help you?
40:03I'll go get the rosemary.
40:05No, no. Don't worry.
40:07You stay here, drink wine,
40:09talk about your things.
40:11Today, I'll take care of everything.
40:13I'll be right back. Watch the fire.
40:15Bye.
40:26I still have to leave soon
40:29because I have to be at the closing ceremony
40:31at the cinema.
40:33Yes.
40:35Sure.
40:37Yes, you have a business to attend to.
40:40And besides,
40:43I feel a little out of place
40:46being here with you
40:48while your sister...
40:50Agustín.
40:52Please.
40:53Please.
40:57I'm sorry.
41:09What's wrong, honey?
41:11Can't you get it?
41:13The only thing I can think of
41:15is that whore, Antonia.
41:17Well...
41:19She doesn't know the AIDS she brought.
41:21She looked like a Marquis.
41:23Well...
41:29Forget about that.
41:31You have to focus on your future.
41:33That's the important thing.
41:35Why don't you go to the study room?
41:37You won't concentrate here in the kitchen.
41:40Yes, that's true.
41:44By the way,
41:46could I talk to Susana's mother?
41:48Oh, yes.
41:50And she made me very worried.
41:51She was at her house this afternoon.
41:53What do you mean, this afternoon?
41:55I thought she went every afternoon.
41:57And me? I don't know. I'll talk to Matilde.
42:00I'll go.
42:02You go to the study room.
42:09Good afternoon.
42:11Good afternoon.
42:13Can we talk?
42:15It depends.
42:17You and I only have one thing to talk about.
42:19You know what it is.
42:22Come in.
42:32I know I'm not welcome in this house.
42:35And I know I've given you and Pietro a lot of trouble.
42:39But I want to apologize for that.
42:42I don't want to bother you anymore.
42:45Look, I'm going to be very direct.
42:47Lucia, I'm very tired of this topic.
42:50Are you going to sign the papers for the annulment?
42:53That's all I care about.
42:55No, I'm not going to sign those papers.
43:00I'm not going to sign them because I've already signed them.
43:19No.
43:33Operator?
43:35Colonel Excelsior, please.
43:39Good afternoon, I'm Fabio del Moral.
43:41Is it possible that Mrs. Bárbara de la Cruz is out there?
43:45No?
43:47How strange.
43:49No, no, no.
43:51You don't need to give her any message.
43:57I shouldn't have come.
44:06Bárbara.
44:08I'm in the living room.
44:10Can you tell me what's going on here?
44:12Mr. del Moral, here is the registration order.
44:15It will be better if you notify Mrs. Bárbara.
44:18Mrs. Bárbara de la Cruz is not at home.
44:21It makes no sense to dilate this.
44:28I'm not trying to dilate anything.
44:30My name is not on this paper,
44:32so I'm not going to dilate it.
44:34I'm not going to dilate it.
44:36I'm not going to dilate it.
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
44:57what area of the house she is hiding in.
44:59Follow me.
45:08Ahem.
45:15Mrs. de Morcuende, are you there?
45:19Mrs. de Morcuende?
45:27She's not here.
45:29But that's not possible.
45:31Someone had to tell her we were coming.
45:33I don't think so.
45:34I haven't made the decision to search the house.
45:39Inspector.
45:43Look.
45:45It's for putting on wigs.
45:47And here's Carla's clothes.
45:49Maybe she's prepared to go out without 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.
46:02Would you mind coming with me?
46:04I want to interrogate him.
46:06Of course, Inspector.
46:08Wait!
46:10Look at this shelf.
46:11Look.
46:31She's not here.
46:33We must prepare a search operation.
46:35Come with me.
46:37Follow me.
46:41Let's go.
46:57They're going to search the house.
46:59And the garden, too.
47:01If they're in any part of the house,
47:03you'd better say it now.
47:05Your words have a threatening tone
47:07that's very unpleasant.
47:09Besides, I have nothing to hide.
47:11She practically confessed to me that Carla is alive.
47:13No, I didn't say that, Íñigo.
47:15You didn't say it, but I heard you.
47:17No, let's see.
47:19I'm responsible for what I say,
47:21not for what you understand.
47:23And honestly,
47:25I think it's a bit grotesque
47:27that you give it to her as an investigator
47:29as if you were here.
47:31Let's stop worrying, Mr. de Moral.
47:33Tell me where Mrs. Bárbara and Carla are.
47:35It's better for everyone
47:37to surrender now for good.
47:39I have no intention of worrying.
47:41I'm going to tell you everything I know.
47:43I'm going to collaborate with you
47:45and I'm going to assume my responsibility.
47:47But unfortunately,
47:49I have no idea where Mrs. Bárbara or Carla are.
47:52Then it's true.
47:55Carla is alive.
47:57And you knew it.
47:59No, I didn't say that.
48:01Íñigo!
48:03Íñigo,
48:05look what I found in the basement.
48:07It's Clarita's.
48:08But what does a Clarita's hat do in Carla's house?
48:11She has my sister.
48:13And this hat is hers.
48:15She wore it at church on the day of my mother's death.
48:17I know it perfectly well.
48:19And a few days ago she told me she couldn't find it.
48:21She has my sister.
48:23We have to find her.
48:29I have no reason to cover for Mrs. Bárbara.
48:32Fabio, to the point. Where is Carla?
48:34At this time?
48:36At Altamar.
48:38You're very brave.
48:40But why?
48:42For everything you're doing to get your voice back.
48:45And you're very lucky to have found Agustín.
48:48Someone who takes care of you and knows he won't leave you alone.
48:52I hope he gave the police all the information about the boat Carla is going with.
48:55I've told them everything I know.
48:57Is he going to Italy?
48:59Yes, of course.
49:01But is that true? Are you sure?
49:03Yes. He has nothing left here, right?
49:05Are you sure he won't get you locked up?
49:06I've always treated all my employees equally.
49:09Well, if I've made any difference, it's because of their performance.
49:13But not because one seems more kind to me than the other.
49:16However, there are those who don't love me.
49:18Yes, I know, I know.
49:20Teresa and Cañete don't have it exactly.
49:22They can't be.
49:24I honestly don't understand why.
49:26Do you realize that right now I can be fired?
49:29Oh, please.
49:31You don't have to go ahead with events.
49:33Maybe Don Salvador didn't see you.
49:34What do you mean he didn't see me? Of course he did.
49:37And what's that smell coming from the subway?
49:40It's the smell of the poor.
49:42Of course, because in the subway only the poor go, right?
49:45She's been there since her period.
49:47And she's holding Salvita's arm as if she were already married.
49:50Have you noticed anything strange?
49:52No, nothing. Is something wrong?
49:54It's just that lately she's been acting strange at home.
49:58Look, yesterday I organized a dinner with Agustín
50:01to thank him for everything he's been doing for her.
50:02And the atmosphere was very strange.
50:05Either you marry Vanessa
50:07or La Fregona will pay for the duck.
50:09Are you the ones in charge of cleaning the keyboard?
50:11Yes, ma'am.
50:13What can I do for you?
50:15Miss, what I'm asking is that you do your job well
50:17because that keyboard is not as it should be.
50:19Is there something you want to tell me?
50:21Well, look, yes.
50:23Nothing at all?
50:25Tell me, Teresa.
50:27What's worrying you?
50:29Well, look, it's not that I'm worried.
50:30It's just that it's a surprise for me to have it back.
50:34A pleasant surprise for everyone, isn't it, Teresa?
50:38What if Fabio is lying?
50:40What if these two are here?
50:42In Spain.
50:44Even in Madrid.
50:46We wanted to tell you something that worries us a lot.
50:48Yes, it's just that Clarita has been coming for the corral
50:51and for what she sees herself.
50:53Not with Susana's mother.
50:56On her own.
50:58Yeah, Clarita told me something.
51:00You have to get her on board, Matilde.
51:02Yeah, Antonio.
51:04But she knows how to scold me with everything that has happened.
51:06Well, no matter how much has happened.
51:08She can't go around screaming
51:10without telling anyone that she is still a child.