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00:00And when Mr. Morel left, they began to argue until they heard the sound of the slap that the boss gave him.
00:15The poor man goes from blow to blow.
00:17You should have heard everything Don Emiliano told him.
00:20He was very cruel to his son. Very cruel. I don't think...
00:25Don't shut up, Pepita. I can sense what you're telling Rodrigo.
00:29I'm also used to it, and no matter how much Ivan is a jerk, I don't think it's right for him to be treated the way my father treated him yesterday.
00:35Yes, miss, I heard him say very harsh things.
00:38Ivan is very affected. I went to talk to him, but he didn't even open the door to his room.
00:45If you'll excuse me, I'm going to order breakfast.
00:48No, don't worry. I'll go, Pepita. Thank you.
00:56What's wrong, son? What are you thinking?
00:59Well, these things always turn against me.
01:03I'm sure Ivan is furious and ends up taking it with me to make me feel guilty.
01:08Of course, from such a stick to such a splinter.
01:13What you should do is what you already know.
01:16Again, mother?
01:18Again, and every time it's necessary.
01:20If you listened to me, you would start your medical studies and you would separate your future from the Pedraza family.
01:25We just got to Madrid. Mr. Emiliano needs me to settle his business.
01:29For now, it's not the time, mother.
01:31Well, I just hope that time comes one day.
01:35Because when it does, you'll be the best doctor in the whole country.
01:52Is something wrong with your mother?
01:53No.
01:55She seems very serious.
01:56She is. That's why she was telling me.
01:59You know, Ivan and your father. It makes her very tense.
02:02Her and everyone else. And rightly so.
02:18Sometimes she wakes up.
02:20Why don't you take advantage and rest a little? You're not in a hurry today.
02:23With how late you arrive tonight?
02:25I can't sleep anymore and I want to review the sequences I have for today.
02:29Until what time were you here?
02:31Well, I don't know. Two, three. I can't tell you.
02:34And did you have a good time?
02:37Well...
02:39What do you mean, well?
02:42Well, it was good, but...
02:44But I didn't see myself quite well in the movie.
02:47That's what happens to all actors.
02:50Yeah, that's what Agustín told me.
02:52It's true.
02:53Whenever they see each other, they think they could have done it better.
02:56I've read it in the cinematographer's magazines.
02:58When they ask them, they always complain.
03:01I'm sorry you left the party so soon.
03:05I was tired.
03:07And I wanted to review today's agenda.
03:10By the way, remember to study the shooting plan, please.
03:15Yes.
03:18Oh, it must be Agustín. He told me he'd come to bring us the press.
03:22Let's see what the critics say.
03:24Yes, you can go open it.
03:26Yes.
03:35Good morning.
03:37I'd like to say good morning, but I'm not.
03:41Come in.
03:47Come in.
03:54What's wrong?
03:57The critics aren't good, Inés.
04:01They don't speak badly of the movie.
04:06But... I don't know, read them.
04:08Please.
04:10The movie disappoints, but not so much because of its argument or fact,
04:15but because of the poor performance of its actors.
04:19Especially the protagonist, whose inexperience is notorious and spoils the final result.
04:25After showing an acceptable level in The Court of Pharaoh,
04:28Inés Balbuena disappoints in her film debut,
04:31with an insult in the shadow of love,
04:36where she wanders like a real shadow.
04:39I don't think you need to keep reading.
04:42All the critics are on the same page.
04:47Well, now what?
04:49Now, well, to prepare you, because you have a shoot today.
04:53No.
04:54No, I'm very ashamed to meet my colleagues, who have surely read that.
04:58Well, you don't care.
04:59Of course, what you have to do is prepare yourself and show them they're wrong.
05:06I'm going to change.
05:12I have to go.
05:14Please, do what is necessary so that you don't come down.
05:32I can't stand it.
05:33I can't stand it.
05:35And what I can't stand is that you always do your part.
05:38Well, it doesn't matter if you scream.
05:40I don't scream.
05:41But I have reasons to do so.
05:43With your mother at home, I have the feeling that I'm getting in the way.
05:45Come on, don't exaggerate, love.
05:47Exaggerated, you say?
05:49I can't even give an opinion.
05:50Yes, of course.
05:51But if it's the only thing you do, it's giving an opinion all the time.
05:53Well, yes, you're right, I can give an opinion.
05:55But what's the point?
05:56What's the point of giving an opinion, than to be given a slap in the face?
05:58I don't care about anything.
05:59I don't care if she tells you how I want to have the house,
06:01how I think we should take care of Leon,
06:04if we even put the name she wanted.
06:06Well, I'm relieved.
06:08Of what can't I give an opinion?
06:10No, that my mother is at home and that she helps us.
06:12Look, for example,
06:13yesterday I was able to pee quietly,
06:16without having to go out every two by three to take care of Leon.
06:19My love, you could have done that without your mother being there.
06:22I could have taken care of him.
06:23Yes, well, that was yesterday.
06:25Yesterday, because you had the afternoon off.
06:27But imagine when you work.
06:29What do I do?
06:31Well, you can wait for me to come back.
06:34Love, what you have to do
06:36is learn from the experience my mother has taking care of babies.
06:39Besides, you're not going to tell me that the house isn't fancy
06:42and that she's not a vulgar and tidy person.
06:46Well, yes, I'm going to tell you.
06:47One thing is that there are no boxes in the middle.
06:50And another, very different,
06:51is that your mother has put them wherever she wants.
06:53Or that she changes the decoration so that it's to her liking.
06:55Well, it's not that big of a deal.
06:57Besides, my mother is going to be away for a couple of days.
06:59What else does it give you?
07:00A couple of days and she'll take them.
07:01And I, what do you want me to tell you?
07:03I don't see her with much intention of leaving.
07:05Besides, because of the size of the suitcase she's brought,
07:07I think this is going to go on for a long time.
07:09Or worse, forever.
07:10Come on, come on.
07:11I've already told you not to exaggerate.
07:12Besides, you know that my mother is a free, independent person
07:15who likes to go her own way.
07:17Well, yes, I know.
07:18Well, that's it.
07:19Right now she must be missing her friends from Fuencarral.
07:22Ah, well, don't worry about going to visit them as soon as possible.
07:25Please, don't worry.
07:27Miguel, for the love of God,
07:28she has simply come to help until everything is under control.
07:32Okay?
07:33When that happens, she'll leave for sure.
07:35What if she doesn't?
07:36What if she stays, no matter how organized she is?
07:40That's not going to happen.
07:41That's not going to happen.
07:42Okay?
07:43And...
07:44And if it happens, well, we'll talk about it.
07:46And don't worry about me, please.
07:47And give me a kiss.
07:48Now.
07:49Yes, short.
07:50Quick.
07:51I love you.
08:02You haven't changed.
08:05Well, it doesn't matter.
08:06What we have to do is review today's sequences of the intrepid spy.
08:09No, I don't feel like it.
08:10Well, you do it without feeling like it, which is not so bad.
08:15Have we seen each other anywhere?
08:18You're wrong.
08:19I've never been here.
08:20I swear I know you.
08:21Aren't you Rafael Jiménez's friend?
08:23No, I've never been here.
08:27And I've never heard of that name.
08:29Rafael...
08:30I'm really sorry, but I just can't...
08:32I just can't concentrate.
08:34I'm not good for this.
08:36Well, don't say that.
08:37But you've already read the reviews.
08:39If I had to have realized that I'm working in the cinema,
08:42well, I'm in big trouble.
08:43No, woman.
08:45This profession is like that.
08:46One day they make you fall off a donkey,
08:48and the next day they put you in the clouds.
08:50When the intrepid spy is released, this will change.
08:53But for that you have to work 100%.
08:57I'm going.
09:06Well, I guess you've already read it.
09:08A lot, but a lot of envy is what this country has.
09:11I guess I did it because of the critics of The Shadow of Love.
09:15Of course.
09:16They can't stand that a singer also has a lot of actresses.
09:19That's why they've mistreated you so much with those ridiculous reviews.
09:23But you don't care.
09:24You're a great artist with a lot of future ahead of you.
09:27Don't doubt that.
09:28That's what I said.
09:30Well, very well said.
09:31What you have to do is not lose hope
09:34and move on.
09:35Show those thongs how much you're worth.
09:39Yes, thank you.
09:41Thank you for everything.
09:42I'm telling you the truth, Inés.
09:44Anyway, I had come for another matter.
09:48As you know, your uncle is going to need to have you both by his side
09:53for a season
09:54because of the signing to dissolve society.
09:57And I want to tell you that I'm very sorry
10:00for the discomfort that this may cause you.
10:03But as you know, when I marry your uncle, I'm also the heir.
10:07And I don't want this to cause problems in our relationship.
10:10Don't worry.
10:11We'll do everything possible for our uncle to do things according to the law.
10:15Well, and above all, according to his convenience.
10:18Because regarding the inheritance and free will, he decides.
10:22And what he decides will be fine.
10:24I've already done enough to pretend that he doesn't solve life when it's missing.
10:28Let's hope it's within a long time.
10:31I hope so too.
10:33Well, that said, it's done.
10:35And I repeat, Inés,
10:37and I repeat, Inés,
10:39get that spirit up.
10:40With your beauty, your talent and your clumsiness, no one will be able to beat you.
10:45Well, I'll leave you to it. You'll have a lot to do.
10:48You don't have to come with me to the door.
10:56Well, I'm going to change. I have to go to the shoot. Are you coming?
10:59Don't you doubt it.
11:00Have you forgotten that I'm your personal assistant?
11:07Yes.
11:15Pietro, how many bags of flour do we have in total?
11:17Because they've come to unload twice, right?
11:19Yes.
11:21Well, how many bags are in total?
11:33I wouldn't know how to tell you.
11:38Can you repeat the question, please?
11:42How many bags do we have in total?
11:53Let's see.
11:55Ten and eight.
11:58What's wrong? Did you forget to add it or what?
12:00Come on.
12:04I don't know what's happening to me.
12:08I didn't understand what you were asking me to do.
12:13Are you okay?
12:15Yes, I'm fine.
12:18Pietro, you've been stuck with a simple addition of ten plus eight.
12:23And besides, I've been seeing you acting strange for a few days.
12:25Like...
12:27Like you've overdone it.
12:29It was a misunderstanding.
12:32Not a misunderstanding, Pietro.
12:33You work a lot.
12:35And at some point, you'll have to lower the bar.
12:37Yes, but I've been maintaining this rhythm for years.
12:39And I've always been able to do everything.
12:42Well, precisely because of that,
12:45I think something's wrong with you.
12:48No, Mrs. Teresa, it must be the fatigue.
12:51Or the age.
12:53I'm just asking you not to tell Antonio anything, okay?
12:55I don't want him to get scared.
12:57Look, I think it's precisely Antonia who needs to know the most.
13:02Sit down.
13:05Mrs. Teresa, I...
13:06What is it? Sit down.
13:07It's an order.
13:10There.
13:11I'll be right back.
13:12Where are you going?
13:13To get an apple for you.
13:15When I get back, I want you sitting down, okay?
13:21And Father Ivan ended up declaring himself my enemy.
13:25And what did you do?
13:27Nothing.
13:29I'm not in the mood for nonsense.
13:32I think your threats are out of place.
13:35I hope the waters get to their source.
13:37I don't like having enemies.
13:39And not even a type of enemy with resources that can make my life impossible.
13:42I hope everything ends up in a brawl with which he wanted to scare you
13:45and make you see who rules the family.
13:48Let's hope.
13:50Well, how about yesterday's extra?
13:54Well, I had a good time.
13:57But I didn't stay long. In the end, you didn't come.
13:59Business trips, you could say.
14:02My friend Ivan is around here.
14:03Ivan?
14:04He's not here, nor is he expected.
14:06We're closed.
14:08Are you kicking me out?
14:09Call me whatever you want.
14:10I'm just saying that he can't be here.
14:14And if I don't leave?
14:17What are you going to do?
14:19Are you going to hit me, like Ivan?
14:21Sooner or later, you'll leave him half-dead, I get it.
14:24Okay, enough.
14:26Please leave.
14:27My brother told him that we're not open to the public yet.
14:33He's a very nice guy.
14:35He thinks that if one day he comes and finds him destroyed,
14:39he could do little.
14:41Because people in our class are way above the trash.
14:46My sister has just asked him to leave in very good manners.
14:51And I also advise him not to come here again.
14:55And I hope that the next time he opens the place,
14:57he finds it as it is.
14:59Okay?
15:04Let's pretend that you and I haven't had this conversation.
15:29I don't like how all this is getting tangled up.
15:31For me, the matter is settled.
15:34Keep in mind that the richer men are, the more cowardly they are.
15:38Here and everywhere.
15:41I see.
15:43I won't rest until I can reason with Ivan
15:46and make sure that things don't get any worse.
15:49I don't think it's a good idea.
15:53I think that deep down, he's a good guy.
15:55The only thing is that he's a bit disoriented.
15:58A bit disoriented.
16:02You do what you do, sister.
16:07Finish this quickly.
16:14I'm so grateful for your contribution.
16:16Well, to you and Fermin, of course.
16:19You know that you can count on us whenever you want.
16:22Besides, you do an incredible job.
16:24This way, we collaborate and put our grain of sand.
16:27Very kind.
16:29What a beautiful watch.
16:31Very beautiful, yes.
16:33By the way, how was yesterday's premiere?
16:36Good. It was a whole event.
16:38I imagine so.
16:40The thing is that things have been twisted today.
16:42There have been some very harsh criticisms of the film
16:45and especially of Inés.
16:47Fermin is very upset.
16:49Poor thing.
16:51Well, he'll do better next time.
16:53Inés is very young, very vitalistic,
16:55so I'm sure she'll recover and the next criticisms will be great.
16:58Yes.
17:00I would have loved to attend,
17:02but my son had a miscarriage in Madrid-Cabaret
17:05and he had to be taken to the hospital.
17:07Yes, it's true. I had heard something. How is he?
17:09Fine. He's fine.
17:11The doctors have recommended him to rest, of course.
17:15I guess then you'll know that the miscarriage was with César Morel.
17:20What do you think of him?
17:23Why do you ask?
17:24Because he was here yesterday to clarify what happened.
17:28And I thought he was a noble person.
17:31If I'm being honest, I don't know him very well.
17:33Well, I think it's an honor for you to be here
17:36and to explain to my husband and me what he did
17:40and why he did it.
17:42You're right about that.
17:44And I don't want this to sound indiscreet,
17:46but you have to know that he was my husband
17:48who recommended him.
17:49Really?
17:50Yes.
17:52Well,
17:54to this day, it seems that they make good friends,
17:57but it wasn't always like that.
17:58Indiscretion for indiscretion.
18:01Why did the relationship change?
18:04Well, there was a time when César pretended to be Inés.
18:07Fermín didn't find it very funny because
18:11many things about his past were said.
18:13Things?
18:14Like what?
18:16Like he came from Marseille for unclear matters, for example.
18:20I can't put my hand on fire for him,
18:23but it seems that he was running away from a criminal organization.
18:28The fact is that he ended up as a manager at Madrid Cabaret.
18:32And now, when he returns, he has become the owner.
18:35Either way, he has had a very intense life.
18:38You said, when he returns.
18:40From where?
18:43It seems that he had problems with justice.
18:47The fact is that he came back a few months ago and had already bought the cabaret.
18:52Well, this man has had an intense life, yes.
18:56Well, having said that, I hope that neither my husband nor my son
19:00have much to do with him.
19:05Maruja, I'm sorry, but I'm going to have to go.
19:07I have to work.
19:08Thank you very much for the coffee.
19:10No, no, thank you.
19:11I'll go with you.
19:12Oh.
19:22But hey, look how stubborn you are.
19:24Didn't I tell you to rest for a while?
19:26Pietro, Teresa already told me your last speech.
19:29We have to take notes on the matter.
19:35I think you both are exaggerating.
19:38I have already told Mrs. Teresa that I am working a lot, Antonia.
19:42That I don't have time to breathe.
19:44And this can be fixed by leaving a little earlier for a couple of days.
19:50Today and tomorrow, for example.
19:52Well, if that helps ...
19:54Perfect, there is no problem.
20:00Anything else?
20:01Well, yes.
20:02That's not enough for me.
20:05Look, for me neither, Pietro.
20:07I think you should go to the doctor.
20:09See?
20:10I told you.
20:11Pietro, please, there are already several outbursts and several dizzinesses.
20:14We can't pretend like nothing happened.
20:18Please.
20:27I'm sorry.
20:31I'll ask for an appointment so I can have a check-up.
20:34Fine.
20:36But I only do it so that you both stay as calm as I am.
20:46And it's not just that Leonora orders everything at her will.
20:49She imposes how we should take care of our son.
20:51She tells us what we have to eat.
20:52She gets involved in everything.
20:53In everything.
20:54Things are done her way and we can't meddle.
20:58Is that all?
20:59Do you think it's not enough?
21:00It seems outrageous.
21:01You've been complaining non-stop for ten minutes.
21:03I'm sorry, Cañete.
21:04I needed to vent.
21:06And honestly, I asked you to come here because I trusted you.
21:10You could have come to La Moderna and taken a pill while you were telling me.
21:13No, no, Trini is here.
21:15And Elias.
21:17What bothers me the most...
21:18It's not all over yet.
21:19What bothers me the most is that Trini says she's calmer with her mother at home.
21:23So I see her there for a good season.
21:27I understand you perfectly.
21:29No, I don't think so.
21:30To understand me, you would have to live it.
21:32Does your mother-in-law know how to make animal figures with diapers?
21:36What a question.
21:37I'm here telling you about my sorrows and look what you get me.
21:39No, it's just curiosity, friend.
21:41Although if I tell you the truth, Leonora seems like a charming woman to me.
21:45To spend a little time with her.
21:47Now, living with her has to be a torture.
21:49Well, there you have it.
21:50Let's see if Leonora has a lot of money and goes back there soon.
21:57But what are you saying?
21:58That Leonora is in your house?
22:00But let's see since when she's with you.
22:02Miguel, how? You haven't told me anything.
22:04Today I'm going to visit her.
22:06What an illusion.
22:07I can't wait to see her.
22:08Look, it's not a bad idea.
22:09See if you entertain her for a while.
22:10No, no, no.
22:11Better not.
22:12I'll deal with that morlaco.
22:13Morlaco you say?
22:14But really, Miguel.
22:15If Leonora is a woman of flag.
22:17That's what it is.
22:18A woman from head to toe.
22:20A woman who made it clear to you a long time ago that between you and her, nothing at all.
22:24Well, boss, you don't have to remind me.
22:26You know I had a very bad time.
22:28It was very hard for me.
22:29Besides, now I only think of her as a friend.
22:31Apart from being generous, she's sociable.
22:33She's fun.
22:34She's wonderful.
22:35It's okay.
22:36It's okay to exalt her virtues.
22:37She'll have them with you.
22:38But living with her, I tell you, it's a pain in the ass.
22:41Well, I find it hard to believe it, Miguel.
22:43Maybe you don't have touch.
22:45Sensitivity, delicacy, elegance.
22:47If I didn't have touch, I would have strangled her.
22:49She has incandescent atresia.
22:51Come on, they do commandita and leave me alone when we have any discrepancy.
22:56What you need is a plan.
22:57Yes, a escape plan.
22:58A plan, yes.
22:59Miguel, instead of getting angry all the time and getting defensive,
23:02what you have to do is convince them that you're delighted.
23:06Do everything they say and that everything goes like silk.
23:10And what do I gain from that?
23:11To speed up your mother-in-law's departure.
23:13Didn't Trini tell you that Leonora would leave the house when everything was fine?
23:16Well, yes.
23:17But if now, suddenly, I start to see everything she or Trini proposes well,
23:21my mother-in-law is not stupid.
23:23Well, and much less.
23:24It is the saga of a personified city.
23:25It doesn't have to be suddenly.
23:27You have to go little by little.
23:29You have to convince your mother-in-law that her presence does not bother you.
23:32Well, that has to be very simple.
23:34Because Leonora has a charming personality.
23:36How does it show that you don't live under the same roof?
23:38Well, don't think I wouldn't like it, huh?
23:40Now, Elias, go back to the living room, there is a table to attend to.
23:43Yeah, but Montero is there, boss.
23:44Neither Montero nor Montera.
23:46But have you ever realized that the clientele is happier when you attend to it?
23:50Ah, well, if that's why you said it before, boss.
23:53Well, Miguel, see you later.
23:54I'm leaving, I'm flying.
23:57Bye.
24:00You have no other way out, Miguel.
24:01Mentalize yourself.
24:03I'll give you the plan.
24:04Step 1.
24:05You have to make your mother-in-law see that you have nothing against her.
24:09But I have everything against her.
24:10It shows on my face.
24:11Well, you're going to have to hide it.
24:13And step 2.
24:14Everything that Leonora thinks about the care of the baby or about the house,
24:17you think it's perfect.
24:21Yes.
24:22I follow the plan to the finger.
24:23You'll see that soon you'll take it off.
24:25Well, I'll tell you.
24:27Cheer up.
24:32Well, look, Don Fermin, I honestly don't think he's right.
24:35And I understand it, because he works like a mule.
24:37And in the end, fatigue ends up being a crutch.
24:40And what do you base yourself on to say that?
24:42What have you noticed?
24:44Well, I don't know.
24:47Well, little details.
24:49I've known him for many years.
24:51And these things, well, I see them.
24:54And what do you suggest I do?
24:56Well, I don't know.
24:57To slow down a bit, for example.
24:59He could take a few days off and get some energy back.
25:03If that were the solution, I could give it to him.
25:05But first we have to solve a problem.
25:07Pietro can pay, but the salon can't.
25:10And the worker, without his pastry chef ...
25:13I've already thought about it.
25:16One person may not be able to do his job, but maybe two or three.
25:20I don't know.
25:21I don't know what to tell you, Teresa.
25:23Pietro is my friend and I wouldn't want him to get upset
25:26if he finds out that we're looking for a replacement for him.
25:29It's very demanding.
25:31Remember how hard it was for us to find Sagario.
25:33Well, we'll have to make him understand that we're doing it for his own good.
25:37So he can have a little rest.
25:38Well, I don't know.
25:39If we can convince him.
25:41Well, it will be worse if something happens to him one day
25:43and he's gone for a week or more.
25:46He'll catch us without anyone to replace him.
25:53Well, Don Fermín, I have to attend to my obligations, but ...
25:57Think about what I've told you, please.
25:59Yes, yes, yes.
26:17Is something wrong?
26:18You're very thoughtful.
26:20No, no, no.
26:21Work stuff, nothing important.
26:23Better.
26:24Do you know where I come from?
26:26Well, I have no idea, really.
26:28From visiting Maruja.
26:29I have brought the objects that we are going to donate for the auction of his foundation.
26:33It's loable, the work that woman does.
26:35Have you seen my nieces?
26:38Cielo, we were talking about the auction.
26:40Yes, yes, yes, I know, but I want to know if you have already met with Laurita and Ives.
26:44Yes, I've talked to them.
26:46And before you ask, I think there will be no problem with either of them.
26:51They are very generous and very understanding.
26:53Yes, yes they are.
26:56In addition, it is a pleasure to reason with them.
26:58They are very mature for their age.
27:00They have not caused any trouble.
27:01Others, instead, would have caused a lot of trouble for you to change the will.
27:06I told you there would be no problem.
27:08Happy?
27:10A lot.
27:12I don't like family conflicts.
27:14And there won't be any here, I assure you.
27:18Thank you very much, Lazaro.
27:19And now, dear, if you'll excuse me, I have to go back to an issue that I have pending.
27:27All right?
27:28Yes, yes, yes.
27:45The next day
27:56Wow, happy eyes.
27:59I thought you wouldn't leave the room all day.
28:02Do you want me to tell Pepita to make you something to eat?
28:04No, I don't want anything.
28:07But you can't be fasting all day.
28:11If I'm hungry, I'll go get some food.
28:13Are you going out?
28:15Yes, I'm going for a walk.
28:18But, have you lost your mind?
28:21What did the doctors tell you yesterday?
28:24Aren't you going to listen to the recommendations that you should rest?
28:27You gave yourself a good blow, Iván.
28:29In that head that you are missing.
28:31Please, Mom.
28:32Hey, Iván, please, don't be a kid.
28:37So that's what you think too?
28:39That I'm a kid?
28:40Well, I'm not.
28:41Even if you don't want to see it, I'm a man.
28:43I know.
28:45Just as I know how your father treated you yesterday.
28:48But ignoring the doctors and going for a walk,
28:50you're not going to solve anything.
28:54I don't understand you, Iván.
28:55I swear I'm trying, but I don't understand you.
28:57Why does it seem like you're angry with the world?
29:00Eh?
29:01That you're losing your life.
29:03Talk to me.
29:04Tell me what we can do for you.
29:05Treat me with respect.
29:07And not with the disdain with which Dad does it.
29:12Blows hurt.
29:14Even if it's just a slap.
29:16But what hurts the most is the disdain with which he treats me,
29:18and I can't stand it anymore.
29:20Iván.
29:22Your father is a bit impulsive.
29:25But you have to find the things you have in common.
29:28Me with him?
29:29What are you saying, Mom?
29:30Yes, you do have them, don't doubt it.
29:33Because if you don't find those things,
29:35you're going to be always at war, like until now.
29:38No, even worse.
29:39Worse?
29:40Worse is impossible.
29:41No, Iván.
29:43It's very possible.
29:46If you try to understand each other,
29:48we'll all benefit.
29:51I suffer with your disputes, and Paula too.
29:55Paula?
29:56Please, Mom.
29:57Paula doesn't give a damn.
29:59Paula cares about Rodrigo.
30:02Just like Dad.
30:03He's the perfect son and brother they would have wanted to have.
30:06Don't say that.
30:07And especially not in my presence.
30:10Rodrigo
30:12is not a bad boy.
30:13But he's not one of us.
30:15And he can't take your place.
30:18What you have to do
30:20is think about yourself.
30:22Find the direction you want to take in your life.
30:24And above all,
30:25find something that makes you happy.
30:28That. That's the problem.
30:31I don't know if there's something that can make me happy.
30:40I don't know.
30:47Antoana, I want to help you.
30:49Yeah, but we've already talked about that.
30:50You stay seated, and I'll take care of dinner.
30:55Yes, but I...
30:56But nothing, Pietro.
30:57No buts.
30:59You stay seated,
31:00and if I don't kick you out,
31:01I've already learned to say it in your language.
31:03And how long will I have to be like this?
31:05As long as it's necessary, darling.
31:07I've already gone to the hospital,
31:08and I've made an appointment.
31:09We have to wait.
31:11This seems like an exaggeration, Antoana.
31:14I'm fine.
31:15It's just tiredness.
31:17In the modern world,
31:18there's always more work, more work.
31:20Why are you so stubborn, Pietro?
31:22What else does it give you?
31:23You go to the doctor,
31:24you see that everything is fine,
31:25and we stay calm.
31:27I'm already there.
31:28Well, I'm not.
31:29I'm very sorry, but I'm not.
31:31I was very worried
31:32when Teresa came to me
31:33and told me that I didn't know how to add.
31:35And you've had a lot more slides, Pietro.
31:37And weird dizziness.
31:39Please, understand me.
31:40I'm afraid something will happen to you like...
31:42Like Ramón.
31:44Well, yes, like Ramón.
31:46Yes.
31:48Pietro, please.
31:51I don't want anything to happen to you.
31:56I understand you,
31:57but I'm fine.
31:59Really.
32:01I feel good.
32:02I feel good.
32:06And I have a lot of years
32:08in this valley of tears.
32:11As much as to see your hair
32:14that is full of canes.
32:16Or your wrinkled face.
32:19And yours too.
32:20Mine?
32:21Yes.
32:22No.
32:23Mine will remain intact.
32:25I'm Italian.
32:28Well, precisely
32:29to see you so young
32:30and so handsome
32:31for so long.
32:33Are you going to the doctor?
32:35Okay.
32:36Okay.
32:37But only if you give me a kiss.
32:43Can I get up?
32:44You can get up.
32:51Look, it's just that
32:52I like the kiss more
32:54than the kisses.
32:55Oh, really?
33:02Oh.
33:12Laurita,
33:13how are you, girl?
33:15Fine.
33:16Why do you say that?
33:17How did you leave the party so soon?
33:19Well, I was tired.
33:21With the atmosphere there was
33:23and with how rich everything was,
33:25how can you be tired?
33:27Elia and I were the last
33:28to leave the boat.
33:30And you don't know
33:31who signed me an autograph?
33:33Who?
33:35Rodolfo Valentino,
33:36Spanish.
33:38Antonio Gullón.
33:40Well, I'm very happy
33:41although I think
33:42he's already a bit down.
33:44Oh, girl,
33:45don't be a party pooper.
33:46It's okay if the man
33:47is not at the top
33:48of his popularity,
33:50but
33:51he has a porter.
33:53Yes, he does.
33:55And no one beats a nice guy
33:56and handsome.
33:57The pity is that
33:58a photograph of mine
33:59didn't come out
34:00in the newspapers.
34:01And I put that on my part
34:03and Elías didn't come out either.
34:04Look, I'm going to show you
34:05the autograph.
34:08It's so beautiful.
34:10To my dear Esperanza.
34:12Antonio Gullón.
34:15Oh, besides being handsome
34:16and nice,
34:17he's original
34:18and creative.
34:19He has it all.
34:20Well, I'm leaving.
34:21Wait, wait, wait.
34:23I was going to ask you
34:24a little something.
34:25Yesterday I saw you
34:26writing down there
34:27in that notebook
34:28and talking
34:29to the journalists
34:30and that.
34:31It's just that now
34:32I'm my brother's assistant.
34:33Ah, that's very good.
34:35I'm sure you'll enjoy it.
34:37Sure.
34:38And I'm sure you'll be able
34:39to get me
34:40another autograph, right?
34:42Yes, all you want.
34:44Well, that's a way
34:45of speaking,
34:46not all.
34:47Well, I'm dying to have
34:48one of Miguel Ligero.
34:50Well, don't entertain me anymore
34:51because I have to keep cleaning.
34:54Good afternoon, darling.
34:56How is Ines?
34:58Well, as you can understand,
34:59she's disgusted.
35:00Of course I understand.
35:02Those heartless critics.
35:03But hey, after all,
35:04they're just personal opinions.
35:06You don't have to pay
35:07too much attention to them.
35:08Yeah, but the problem is
35:09that everyone thinks the same.
35:10Yes, yes, yes,
35:11but it's still
35:12a kind of contubernism.
35:14You go and see what.
35:15It's best
35:16to forget them.
35:17Yes, that's what I told her.
35:18To forget them
35:19and to focus
35:20on the intrepid spy.
35:21And did she listen to you?
35:23Well, today she's been
35:24filming all day
35:25like a spirit,
35:26but I don't know.
35:27I think the procession
35:28is going inside.
35:29And where is she now?
35:30She's at home.
35:31They took us by car
35:32to La Guardilla.
35:33She'll be studying.
35:34I hope.
35:35I needed to get some air.
35:37Laurita,
35:38you don't know how happy
35:39I am that you're back
35:41and that you're
35:42your sister's personal assistant.
35:43No one better than you
35:44to take care of her
35:46and cheer her up.
35:48Yes, but that will be
35:49only for a season.
35:50Well, the time you consider
35:51will be welcome.
35:53And you?
35:56I see you're serious, Laurita.
35:58Are you okay?
36:01The truth is, no.
36:02No?
36:05Let's go to my office
36:06and you tell me why.
36:16Hello.
36:17Hello.
36:18How are you?
36:19What a day!
36:21And in my best dreams
36:22I thought the store would go so well.
36:23Dresses and accessories
36:24for the modern woman.
36:26What a success!
36:28And you?
36:29How are you?
36:30Here I am preparing
36:31a documentation
36:32that your father asked me to do.
36:34Do you know anything about Iván?
36:36He's resting.
36:37Resting.
36:38Resting is what he needs.
36:40And to calm down
36:41because it's almost time.
36:44Is something wrong?
36:46I think so.
36:49Have you read this report?
36:50The truth is, no.
36:52Do you know what it's about?
36:54No, I don't usually read
36:55your father's documents.
36:57Look.
36:58My father is planning
36:59to make a synthetic fiber
37:00that replaces
37:01natural fabrics.
37:03Well, it could be a good deal.
37:05But you don't see it.
37:06This would mean
37:07the ruin for the farmers
37:08who work for my father.
37:10The most absolute ruin.
37:12Let's see, Paula,
37:13I think you're exaggerating.
37:15I'm not exaggerating.
37:17This project
37:18can't go on.
37:19I have to talk to my father
37:20immediately.
37:22I'd think about you.
37:24You know too well
37:25what your father is like
37:26and the only thing you'll get
37:27is to argue with him.
37:29Is it worth it?
37:30Of course it's worth it.
37:31Because he might not,
37:32but I have my principles
37:33and I can't go against them
37:34now or never.
37:36Do you know if he's coming back?
37:38It shouldn't take too long.
37:40Well, I'll wait for him here.
37:41And don't try to stop me.
37:43This is a matter
37:44that I want to talk to him alone.
37:45This is a matter
37:46that I want to talk to him alone.
38:01Of course,
38:02that picture is fantastic.
38:05Do you have a taste?
38:06What taste, Leonora?
38:08I mean it.
38:10Sometimes it's hard
38:11to realize things.
38:13But anyway,
38:14it's a luxury
38:15to have you in our house.
38:19Why are you looking at me like that?
38:20I'm just acknowledging
38:21your mother's merits.
38:23Leon is well taken care of
38:24when we're working.
38:25Everything is in its place.
38:27Well, I'm glad
38:28you got off the donkey, son.
38:30Ah, the donkey.
38:31The donkey was me.
38:33There was something like that.
38:35I mean,
38:36I wasn't realizing
38:37the value
38:38your advice had,
38:39but I've already fallen from the fifth.
38:41With so much falling
38:42you're going to end up
38:43like the fox.
38:44No, no, no.
38:45I mean
38:46you have to absorb
38:47your knowledge
38:48as if we were sponges.
38:50Sorry, sorry.
38:51And I apologize
38:52for my previous blunder.
38:54But I was a little
38:55stuck with work stuff.
39:00Can we believe
39:01everything you're telling us?
39:03No doubt about it.
39:14He's awake.
39:15You have no idea
39:16how hard it's been for me today.
39:18My love.
39:27But, but, but
39:28what a barbarity.
39:30What a temper,
39:31what a know-how,
39:32what magic,
39:33what did I say?
39:34Magic.
39:35What art, Leonora.
39:36Yours is art
39:37and if you'll allow me
39:38I'm going to incorporate
39:39this sleeping resource
39:40into my humble repertoire.
39:41How was it?
39:43It was great.
39:59It's not that easy.
40:00Not the trick,
40:01not what my mother does.
40:02My love.
40:03I can see that.
40:04That has a huge merit.
40:06I want to learn
40:08to be like her
40:09and I'll practice
40:10whatever I need to
40:12and I'll follow
40:13her wise advice
40:14about Leon's upbringing,
40:15about order in the house,
40:16about life,
40:17about everything.
40:18Well,
40:19I'm glad
40:20you're finally
40:21in the same team
40:22and now I'm going
40:23to pick up the clothes
40:24that are already dry.
40:25Will you take care
40:26of the living room?
40:27Yes.
40:32What's going on, Leonora?
40:34Look at me.
40:35Look me in the eyes.
40:38Try not to be
40:39playing with me.
40:41What do you mean?
40:45If this is a trick
40:46and you're not being honest,
40:48be careful with me.
41:10Ballesteros
41:11has been a bit cold
41:12all day, hasn't he?
41:14Well,
41:15you know how he is.
41:16Demanding
41:17and a bit stubborn.
41:19But we have to put up with him
41:20because he's the fashion director.
41:23They haven't told me anything
41:24but I think
41:25they were murmuring
41:26about me at the shoot.
41:28Laurita says no,
41:29that they were talking about their things
41:30but
41:31I think they were looking at me
41:32with pity.
41:33Well,
41:34I think
41:35Laura is right.
41:37If it weren't for her,
41:39I wouldn't have put up with it today.
41:42And because of you.
41:44Thank you for the flowers
41:45and the chocolates.
41:47Well, that's what a producer
41:48has to do.
41:50To make his star happy.
41:52Especially when things
41:53aren't going as they should.
41:57And the box office, either.
42:01Or irregular.
42:04Let's say
42:05criticism has driven
42:06a part of the audience away.
42:08But I'm sure
42:09we're going to bounce back.
42:11Tell me the truth, Agustín.
42:14The truth is I don't know.
42:16I don't think
42:17we're going to get close
42:18to what we thought we'd get.
42:22But this business is like that.
42:24You have to get used to it.
42:25You've had
42:26a great success
42:27with the Pharaoh's court
42:28and now
42:31with the shadow of love.
42:32I'm going to have a big failure.
42:35And we can't do anything.
42:37What I do think is unfair
42:38is that
42:40you've been blamed for everything.
42:42When really,
42:43if a movie goes wrong,
42:44it's everyone's fault.
42:46You say it to cheer me up.
42:47No, I say it.
42:48I say it.
42:50Because it's true.
42:52And the good thing is
42:54we can reverse it.
42:56Because if after
42:57a success
42:58comes a failure,
43:00after a failure
43:02can come
43:04a great success.
43:05And let's hope
43:06that's the case
43:07because I don't think
43:08I'll be able to recover
43:09from a second failure.
43:12Agustin, it's just that
43:13I feel very responsible
43:14with all this.
43:15No, I tell you all this
43:16to cheer you up,
43:17to cheer you up,
43:18to motivate you.
43:20What I want
43:22is that
43:24with intrepid feet
43:26you show the world
43:27that you're a great star.
43:31The brightest star
43:32in the firmament.
44:03Paula.
44:04What are you doing here?
44:11You shouldn't have read that.
44:13It's late.
44:15Yeah.
44:16Anyway, I suppose
44:17it had to happen.
44:18Well,
44:20you know what's going on.
44:21What you're planning
44:22is something terrible
44:23that will have
44:24even more terrible consequences.
44:26Terrible, you say?
44:28Daughter, all I'm trying
44:29to do is guarantee
44:30the future of this company,
44:31of the family.
44:33I don't see anything terrible
44:34in looking for
44:35the well-being of yours.
44:37If you get that synthetic fiber,
44:39families will find out
44:40and lose their means of living.
44:42Calm down a bit.
44:44Sit down.
44:47Sit down.
44:49Sit down.
44:52Daughter, I can't avoid that.
44:54You can't go against progress.
44:57Think that the copyists
44:58also became useless
44:59when the printing press was invented.
45:01It's like that.
45:02All technological progress
45:03leaves someone in the way.
45:04Someone?
45:05You're talking about the farmers
45:07who provide us with cotton
45:08and natural silk.
45:10Their families have been working
45:11for Los Pedraza
45:12for three generations.
45:14We know their names and surnames.
45:16Yes, daughter, but they will survive.
45:18They will find other crops,
45:19they will look for life.
45:20It's what they've always done.
45:22And that's all?
45:23Those ruins
45:24and all you can think of
45:25is that they will
45:26look for life.
45:27How can you be so cruel
45:28and so insensitive?
45:30Cruel?
45:31Insensitive?
45:32Listen, Paula,
45:33it's easy to look great
45:34when you do it.
45:35With your expensive schools,
45:36with your English university,
45:38having covered
45:39up to the last penny
45:40of your expenses.
45:41Not to mention
45:42your motorcycles
45:43or the fact that you live
45:44in a mansion.
45:45Where do you think
45:46all that comes from?
45:48It comes from here,
45:49from my work,
45:50from this company.
45:53And all I want
45:54is for it to remain
45:55like this for many years.
45:56Do you know how much
45:57I appreciated
45:58that you let me
45:59study engineering
46:00even if it wasn't
46:01what you expected?
46:03You didn't let me
46:04choose either.
46:05You know, I'm telling you
46:06that at this point
46:07I don't care anymore.
46:09Don't get me wrong.
46:10I'm very proud of you.
46:12No, I'm serious.
46:13Very proud of you.
46:15Of everything you've achieved.
46:17Which doesn't mean
46:18that I'm going to accept
46:19you giving me
46:20ethics lessons.
46:21It's business.
46:23Business has no morals.
46:24How sad you say that.
46:26What a disappointment, Father.
46:29Welcome to the adult world, Paula.
46:32Why don't you accept
46:33that things are the way they are?
46:34Because neither you nor I
46:35are going to change them.
46:37Don't ask yourself so many questions.
46:39And Jaer is a hard-working,
46:40responsible and very smart woman.
46:42I like all that, but...
46:45sometimes it can be a flaw.
46:49In a woman?
46:51Yes.
46:52In a woman.
46:54Well, if you want me to be honest,
46:55I think...
46:56I think you should explore
46:57more feminine virtues.
46:59Of course.
47:00Would you have liked
47:01it to be more...
47:02discreet?
47:03Submissive?
47:04Abnegated?
47:06Like the models
47:07of my urban books
47:08in school?
47:09That manual also said
47:10something else
47:11that I haven't forgotten.
47:13That we had to hide
47:14any intellectual superiority
47:15from any man
47:16around us
47:17so as not to offend him.
47:19Do I offend you, Father?
47:21I know you're smarter than me.
47:23And you don't offend me.
47:24But it bothers you.
47:26And since I came back from England
47:27you haven't stopped making it clear to me.
47:29But with this,
47:30everything is going to be different.
47:33Look, Paula,
47:34I'm going to tell you this once.
47:36I'm not going to allow
47:37anyone to question
47:38this project.
47:40Here, we risk everything.
47:41Do you hear me?
47:42Everything.
47:44No one is going to interfere,
47:45much less my own daughter.
47:47Is that clear?
47:49This conversation is over.
47:50No.
47:52This is not over.
48:00I make you all responsible
48:01for keeping Paula's mouth shut.
48:03Because if she makes the mistake
48:04of revealing it to the press,
48:06we are in serious danger
48:07of being ruined.
48:08I'm really sorry
48:09about what happened, Paula.
48:10Really.
48:11And so is my brother.
48:12Look,
48:13in his hands,
48:14or rather,
48:15in his fist,
48:16he avoided it.
48:17I wanted to go to your house
48:18and talk to Iván.
48:19Do you think he would welcome me?
48:21Are you going to go to my house
48:22knowing that you can
48:23get into the lion's den?
48:24You have to get him to come to the auction.
48:26If he doesn't come,
48:27Maruja won't forgive him.
48:28Yes, Mr. Emiliano,
48:29but...
48:30No excuses.
48:31Your father has been talking to us
48:32and he has informed us
48:33of his plans
48:34with the synthetic fiber
48:35after you forced him
48:36to tell you.
48:38And don't you think
48:39that the benefit of some
48:40can be the ruin for many?
48:42Many families
48:43will be harmed.
48:44You know some of them.
48:45Why don't we talk
48:46more calmly this afternoon
48:47during the auction?
48:48Because I'm not going.
48:49You should know
48:50that I'm not going to allow
48:51you to endanger
48:52my grandson's health.
48:53Who is my son?
48:54I said, my grandson.
48:55Who is my son?
48:56He wanted to ask me
48:57to bring him a sack of flour
48:59because his hand was swollen.
49:01He wanted to ask me
49:02because he couldn't
49:03pronounce the word
49:04flour.
49:05He pointed to the sack
49:06with his hand,
49:07but he couldn't pronounce it.
49:09And I think he is aware
49:10that he has these lapses
49:11because he asked him
49:12not to leave anything to anyone,
49:13especially you.
49:14I'm going to give you
49:15the afternoon off
49:16so that you can spend it together
49:17while I leave the house
49:18with a shovel
49:19so that you can see
49:20how well I'm doing.
49:21And so Trini will understand
49:22that we don't need her mother
49:23so that everything is
49:24in perfect condition.
49:25Nothing happens to me.
49:27Do you understand?
49:28Nothing.
49:29And tell your colleagues
49:30please
49:31to leave me alone.
49:32Will you stay tonight
49:33and help me with the text?
49:34Of course.
49:40I'm very worried
49:41that you tell me
49:42that every time you see
49:43Inés and Agustín together
49:44you feel very uncomfortable.
49:45With the movie
49:46and being Inés' assistant
49:47I'm going to have to spend
49:48a lot of time with them both.
49:49I remind you that you
49:50looked for me
49:51after your failure
49:52and do you know why
49:53I failed?
49:54Because I didn't direct it.
49:55How dare they predict
49:56that we are going to fail?
49:57Well, Inés, don't listen to them.
49:58I'm sure you're hiding it.
49:59Besides, you can't make yourself
50:00the failure of the shadow of love.
50:02It was teamwork
50:03for the good and for the bad.
50:04It's amazing.
50:05But what do you know?
50:06You just got to this world
50:07and you don't know what you're saying.
50:10I'm coming.
50:11No, no, no.
50:12I'm coming.
50:13I have to do it all.
50:14I wish Lázaro and I
50:16were still as in love
50:17as you are
50:18after so many years
50:19of marriage.
50:21I would like to express
50:22our gratitude
50:23for your assistance
50:24in this auction
50:25which is about to begin.
50:27Who is that woman?
50:28Elena Cavalieri,
50:29the niece
50:30of the Italian ambassador.
50:32She's very pretty, isn't she?
50:35Pietro.
50:37Who is this?
50:39Pietro, you're scaring me.
50:40Pietro.